There was a time when I’d have not been quite so descriptive about a dress. I’d have said, ‘you know, that black and white one’!
But it’s got more complicated these days. I’m more invested. And more proud. And more hell-bent on everything I make being as considered and as much ‘me’ as possible. So every detail counts!
This self-drafted style is the same as the last one I made in a striped crinkle cotton linen gauze and I knew it would work so much more interestingly with a tartan because of the drama of the drape at the sides.
It’s so satisfying to use a pattern that you know works and fits. Especially when time is so precious right now. Though I’ve been a bit naughty by not transferring my notes to my digital pattern yet – I just used the last scruffy print-out with the adjustments already made.
Note to self: make those bloody changes to the digital version before you loose/damage the paper pattern and you’re left wondering why the third version fits so badly!
It’s so true what they say about keeping notes on or with your pattern pieces. However marvellous you think your memory is you will undoubtedly forget the changes you made last time!
The double French darts played an important part in the design – they allowed the checks to travel undisturbed down the front bodice through the front skirt.
And with all the action at the sides of the dress the mismatched checks look more intentional than ever!
But behold the joy of invisible zip wins when the check matches either side!
Mitred corners on the hem were once again an important decision as the underside of the skirt shows mostly at the sides. They eliminate the bulk of the overlay and look so bloody neat that I want everyone to see them!
The fabric is not really thirty-something degree appropriate (yes, you read that right, 34° in the UK yesterday!). It’s a polyester viscose twill from one of the shops in the Goldhawk Road but I chose it for the drape and the checks with more of an autumnal or winter vibe in mind – layered with a jacket and worn with boots and tights. That said, I don’t know that I can wait that long to wear it again, so I might accessorise it further with a sunhat and a fan, if these tropical temps keep on coming!
Sewing has definitely slowed due to aforementioned sunshine. Not least of all because it’s such a lovely distraction and makes me want to be out in it, but also because it’s so go dammed hot in my house and it’s impossible to focus. The need for air con is nigh! How are you all coping?
Lockdown forced me to buy fabric online. Not my favourite thing to do but needs must when Covid pulls the rug!
I headed straight to Minerva – amazing selection; easy to navigate website and very competitive prices. I’m also a fan of theaccompanying videos that showcase the fabric in action so you can get a fair impression of the weight and drape.
I was on a roll with the Shelby rompers, having made a starry one, a tropical one and an upcycled one in relatively quick succession, and my plan was to make a plain one that was a bit more casual and downplayed for those days when you want to be slightly less visible. Read: any excuse to go back to black!
I’m a sucker for black. But even moreso for a black fabric with a texture. And linen is a firm favourite. So I figured this crinkle cotton striped linen gauze would tick all the boxes. Black was sold out unsurprisingly, so I went for charcoal which actually champions those slubs with way more contrast.
But when it arrived I was a bit miffed. It wasn’t at all as I’d imagined. It was a bit scratchy, a bit wonky with it’s loose weave and worst of all, following a prewash it contracted to half the width! That lovely slubby texture totally worked against me, didn’t behave at all like regular linen and was almost elastic! – I was dead scared to make it into a romper. What if one leg ended up longer than the other, lol!
Despite the disappointment I rejoiced in the realisation that I’ve come far enough into my dressmaking journey to know when a fabric isn’t going to cut it. And the tantrums are few and far between now, because I’m quicker at finding solutions. Also the fabric completely softened after a prewash and I was more determined than ever to let this fabric do the talking.
So I went off piste. Not accidentally I’m sure because I’ve always got a catalogue of crazy designs in my head and sometimes they make it to a page in my Fashionary book so they’ve got a better chance of being realised. A summer linen dress incorporating a fitted sleeveless bodice, with a v-necklline and a handkerchief skirt would be it’s destiny.
I reached for my bodice sloper, added a v-neckline and narrowed the shoulders. I also swung the darts to fashion a double French dart for no good reason other than I’ve never done it before. And I really like the result!
The vertical stripes of this linen lend themselves perfectly to the bodice but I decided to switch the stripes horizontally for the skirt section because I much prefer how horizontal lines fall at the sides. There was precious little worry how it would all hang for cutting it on the cross because I was playing to it’s wonky nature in any case. And it turned out good. In fact more than good. I love it!!
I have to cite a few influences here: Liz from this year’s GBSB for sticking to her alternative fashion style. I realised I was drifting away from mine and she’s unknowingly reeled me right back in! My bestie Laura Bird who loves an All Saints asymmetric number, always sporting an ‘interesting’ dress and Burda Style for first introducing me to a hanky hem!I made my first maxi dress here and a second silver one here and they are still my favourites though this is my first short dress with a handkerchief hem.
So how did I cut the skirt?
I decided on the length of the skirt (the depth) and factored in seam allowance and hem.
I made the width of the skirt to the following calculation:
Front piece (cut 1) = half waist measurement + (2x length of skirt) + 8inches for 2 box pleats + (2x hem allowance)
Back piece (cut 2) = quarter waist measurement + (1x length of skirt) + 4inches for 1 box pleat + seam allowance + hem allowance
I marked the centre of the front piece and 4 inches either side to tack the box pleats. I overlocked the bottom of the bodice piece and the top of the skirt pieces before pinning and sewing in place. I sewed up to the side seam on each piece and then sewed the seam allowance of the extra fabric along the top edge. After the centre back edges were overlocked, I inserted an invisible zip and enclosed the top part of the zip with the facing.
Finally I hemmed all four edges of the skirt and mitred the corners. And oh what a neat little finish that is!
I know it’s not the most groundbreaking dress. But I made it to my own order and an image in my head and it really feels good. The fabric feels good against my skin in this heat and I love how carefree it is.
I finished up sewing it yesterday morning in good time for Dan to have a practice with his new camera. (Clever, hey?!) And I’m delighted with the results. Thank you oh clever talented husband of mine!
Also…new shoes!!Buffalo hologram numbers that literally turn rainbow in the sunshine. And yes I know I’m probably channelling 90s Spice Girl. And no… I’m not about to grow up anytime fast!
Last weekend was a Godsend. Seriously. As a sewist, who wouldn’t relish permission to sew your undivided heart out for two full days whilst tuned in to all manor of inspirational videos and chat from the best kind of community ever. I’m talking the #SewingWeekender hosted by The Foldline and English Girl at Home, obviously. The event that sparked so much joy and raised so much money for such great causes.
And hey, I made a new outfit in the process, too!
I’m not sure if I can ever stop making True Bias Shelby Rompers now. This is my third and still I’m not done!
This wasn’t the intended fabric though. I had factored in some crinkle cotton linen gauze, but following a prewash, it crinkled to half the size and became all elastic and everything. I set about ironing but got bored after the first 20cms and swapped it up for a really old pair of curtains instead. As you would!
Ordinarily I have a reputation for exaggeration, but in this case I’m not joshing. I bought these Laura Ashley curtains in a charity shop many moons ago. Quite excited by the vintage factor. Had to look up those roman numerals though . . .
MCMLXXVIII = 1978 for the less Roman among us!
I bought them when I was dead broke. And still argued the West London inflated charity shop price! They served my previous two addresses as actual curtains and have sat wantingly in stash mountain for the last 10 years. So I think you might relate to my happiness at using them to make my third True Bias Shelby Romper suit.
I get it now. Using the same pattern over and over. If it ain’t broke and all that. Such an easy gig when it works straight out of the packet. I made my first ‘trial’ one in a very lightweight (quite see through) star-print viscose. And I love it still. The second, more improved version realised in a tropical print viscose and it’s so interesting to see the difference when it sews up in a fabric with a bit more structure. The silhouette is accentuated even more and feels good against the skin being 100% cotton and all. Feels even better knowing how many lives it’s lived and yet 42 years on its still many more years away from a landfill!
That said, there was a little issue with the tiny back straps. They didn’t turn as easily in curtain fabric. It’s a bit of a toughie compared to viscose. So following a wee tantrum, I re-cut the pieces on the bias – remembering a video tutorial I’d watched about cutting rouleau loops on the bias – and it bloody worked a treat. Thank goodness I had enough fabric left!
This isn’t the end of this particular project. I’ve got plans. Mostly to mess things up! You know what I’m like with my colour palette – there’s not a scrap of black going on, save for the buttons. So I’m going to add some paint. Just a bit. And not quite sure where and what. But watch this space!
Thank you Daniel once again, for my lovely photos. Especially when the clouds dictated we should never have strayed further than the garden gate, let alone to the riverside. But I’m jolly glad we did.
I’m so happy right now. Doesn’t take much – just a shed load of sunshine, some quality time with the fam and success at last with the fit of my shift dress.
In case you’ve missed any part of me whittling on about this process, my mission has been to achieve the best fit I can using my own dress pattern with minimal seam lines – ie a darted dress with both front and back pieces cut on the fold – so as not to disturb the print of a very boldly designed fabric that I have in mind to sew next!
The fabric I used here was the best test so far because it too required careful pattern placement. You can see the first version I made here and I just realised I didn’t even get round to blogging the second so here is an actual shot, instead!
I was gifted the gorgeous batik fabric a few years back, by a lovely friend who had inherited it from her parents. When she saw it featured in my instagram post she was so happy to see it again and so pleased that it was being put to good use. I kinda felt duty bound as I remember her telling me that her parents used to travel for to Thailand and Indonesia quite a lot in the 60s and 70s for work and that they always returned with gorgeous authentic fabrics. Proper sentimental value and vintage, too!
This piece in particular is undoubtedly a hand-blocked batik. Though this is based purely on my own research and I could be wrong so please correct me if you think different.
It wasn’t very wide but I knew it would be perfect for the third trial of my shift dress, knowing I was very nearly there with the fit. I wouldn’t have risked it otherwise!
It’s such a fine quality cotton. Actually feels so natural against my skin, which is an odd thing to say but I have worn cotton before that doesn’t feel nearly as good. And it completely stood up to a stroll in 24° of Shepherds Bush sunshine today.
I was intrigued by the selvedge of this fabric. Why would it have just one edge of border decoration? I put out to the wonderful, ever obliging sewing community on Instagram and the very clever Meg from @cookinandcraftin suggested it was very likely to be used for a hemline and a centre front detail for a sarong when wrapped. I loved knowing this and was determined not to waste this detail so I set about cutting my pieces on the cross grain in order to make the best use of the design.
But I hit a snag and realised just in time that the cross grain had absolutely no give at all, and considering the style and fit, it could have been a disastrous move. So I cut on the long grain, as I have trialled twice before (if it ain’t broke and all that) and cut the border separately to seam along the hemline with a generous seam allowance which is overlocked and pressed down on the wrong side. It actually helps to add a bit of weight to the bottom of the dress too.
I made a few other tweaks to the pattern since version 2:
I widened the shoulder straps by 1cm having struggled to pull the dress through the facing during construction, as per the ‘burrito-method’! The fabric I am going to use for the next one is much thicker and I don’t want to risk damaging it or pulling out any stitches in the process.
There was still an element of pooling at the back (swayback issues as usual). And even though I added a quarter of an inch more at the hips since last time – with some improvement – it didn’t seem to solve the issue as much as I’d like.
Then, just this morning, I saw that Cortney from @s.is.for.sew on Insta detailed how she lengthened her back darts to resolve a similar issue. So I moved the bottom point of the diamond dart down 2.25″ and continued the widest part down longer before tapering off. It worked a bloody treat!
And so I do believe I’m ready to cut into that prize D&G fabric that I got from The Stitch Festival 2020 – only dilemma now being, how the hell do I choose my favourite placement of the design? I anticipate this being the longest part of the process!
Thank you as always to Daniel for these amazing shots down the alley of the Laundry Yard in Shepherds Bush, London. For anyone who knows, you’ll know what a brave move this was!
What bliss, when you have precious little time to play with, but you have a sewing pattern that you know fits straight out of the packet! I’m back again with another True BiasShelby Romper suit. And I love it just as much as the star version… don’t make me choose!
The fabric is a beautiful quality viscose from SewSewSew. Once again the sewing community came to my aid when I asked if anyone knew where I could get my hands on some tropical print. And Amy from Almond Rock so kindly pointed me in exactly the right direction
I feel all ‘holiday’ in this one, ditching the Docs for a pair of espadrilles. Believe it or not, I’ve never owned a pair owing to my fat feet and inability to squeeze my toots into them. But Asos have a wide-fitting shoe section and I thought I’d give them a shot. Mostly very happy, especially with the fit. I just have to learn to walk in them and keep my heels from lifting out. Any tips?
Despite having a mahoosive collection of salvaged and inherited buttons, I still couldn’t muster up five that were just right, so I bought from a seller on Ebay Number-Sixty – who have a huge selection of buttons at very reasonable prices. You can’t really see from the photo but they are olive green with subtle swirls and following the last episode of The Great British Sewing Bee, I was totally inspired by one of the contestants, Nicole, to sew them on with a pop of contrasting orange thread.
There was one little tip I forgot to share last time which is so helpful. The instructions advise to stitch in the ditch on top of the shoulder seams and centre back seam to secure the facing piece down. I can’t believe up until now I have been painstakingly handstitching the facing to the seams. This advice will be carried through to all my projects where applicable. It’s so much more effective. And quicker!
I really do love this pattern – the ease at which it sews up right through to finished romper suit. It truly is so much fun to wear. So much so that I can’t wait for my next order of fabric to arrive so I can make my next one. Haha… I make no apologies. It really is that good!
All the kisses for the sewing community today. But mostly for The Foldline and their generous Instagram campaign: Random Acts of Kindness and to Amy aka AlmondRock, for tagging me! That in itself presented a fuzzy, warm virtual hug but the prospect of getting to choose a pdf pattern of choice was such an awesome treat!
I was literally that kid in the sweetshop. I don’t know if you’ve visited The Foldline’s pattern store recently but it is mind-blowing. So many super stylish patterns – Indie and Big 4. Put some serious quality browsing time aside before you head on in!
After a delightfully long peruse fuelled with umms and ahhhhhs a-plenty, I decided on the True BiasShelby pattern. Especially after I spied Patsypoomakes‘ version – which was definitely the deciding factor.
The Shelby is a very versatile design that delivers a v-neck, princess-seamed dress and romper suit in both maxi and mini lengths, with 2 sleeve options.
So reminiscent of my 90s youth – styled with DM’s, lockdown hair and a pair of shades to hide the baggy eyes. Much the same as I would have done thirty-odd years ago except hair probably would have been loaded with half a can of Elnett, crimped and backcombed for added bigness!
I have never used a True Bias pattern before and I really didn’t know what to expect with regards sizing, clarity of instructions, general fit and ease of sewing etc, so I opted for some super drapey stash fabric to toile it. After all what were the chances of a romper fitting in all the right places, first time round and without a ‘hungrybum’ feature?
I didn’t think for one minute that this was going to fit without some inevitable adjusting but I was going to enjoy the process all the same. I clipped and overlocked and pressed all the seams and it brought so much joy to see it taking shape. I diligently followed every step of what is probably the clearest most concise set of instructions I have ever encountered all the while believing this was destined to be a test garment only.
The more I progressed with the sewing the more it became apparent that I wasn’t going to look like a giant baby (I did have some initial doubts) and it was going to be a perfect fit and I was beginning to feel a bit sad that I might not have used the best fabric for it to be actually wearable. It looks pretty decent in the pics because it was a relatively cloudy day today. But it’s really sheer. Like hold-it-up-to-the-light and-see-absolutely-everything sheer!
I am determined not to let these go to waste and so my lightbulb moment came with the discovery of my ever-so-nineties Pineapple Dance Studio cycling shorts! No one would really know in any case, and everyone is saved from seeing my actual butt!
Princess seams always produce the smoothest and flattering lines IMHO but the waist ties at the back cinch in a waist I never knew was there! Creating them was a breeze with my Clover Easy Loop Turner and they are the perfect length and width to effortlessly tie into a cute bow.
You can totally tell how much thought and consideration has been put into drafting this pattern. I had no choice but to work on it in small, often hour-long stints and yet it was so easy to pick back up on where I left off each time. Even at my most tired after a very long working day, the instructions were so clear, the illustrations were brilliantly presented and it sewed up so effortlessly. I couldn’t recommend this pattern more if I tried!
With my smalls all grown up and my grandsmalls out of reach (care of covid), Easter Sunday provided some respite from work so I could find time to pick up on a WIP that’s been waiting in the wings for so long I’d almost lost interest!
But it’s THIS fabric that’s keeping me going. The delightful D&G piece of art I scored at The Stitch Festival 2020 in February. Gosh… those were the days. When you could go out willy nilly, meet up with your mates and hang out in fabric stall paradise…
I bought it without a plan – rookie mistake number one – but to be fair, I can only see one road to realisation with this digital masterpiece. A simple shift dress.
The design of the fabric sings so loud I want as little disturbance to the design as possible so I set about drafting a perfectly fitting shift to do it justice. There’s not a chance in hell that I will rehearse it in the fabric itself and the closest I had in stash was some very graphic stretch upholstery fabric, gifted by my lovely milliner friend Jayne. It was quite a big bolt and even after I tested (rather badly) a self-drafted pattern and documented the whole film-noir experience , I still have masses left!
Very interesting, looking back, to see that I’ve got pretty much the same issues… with the back bodice. Different set of circumstances though. In that last attempt I had a zip up the back and I’ve since learned how to do a sway back adjustment to get rid of the ripples.
But… because I like making life difficult for myself. Oh and because I don’t want to separate the back piece with a centre seam, the back in this instance is cut on the fold, and the zipper is (in true vintage styleee) at side left.
So I had to sacrifice the back contouring and add it to the back diamond darts instead. I considered nicking some from the side seam too but thought I’d await the results first. Proof is in the pudding, right?
Well it’s no surprise. I have pooling. Bloody bain of my life! So predictable that it’s boring now. There must be a way of doing the same adjustment to a back piece cut on the fold. Do you think? Please let me know if you have any experience with this. I will love you forever!
In the meantime. The easy adjustments to be made are to get rid of that horrid funnel neck thing I created. That’ll teach me for avoiding a full-on facing piece – lazy bones loser that I am! A classic boatneck it will be. And to shave some more off that front armhole with a little off the edge of the shoulder. Also perhaps to increase the length a bit. I do like short skirts but if I lengthen it I think I’ll get more of the design in too!
One more test and I think I might be there. We’ll worry about placement in the next post, lol!
I don’t know about you but this year has been a slow starter for me. Full on with actual work but slow to get sewing, not a lot of space or energy to glean inspiration or motivation. But a trip to The Stitch Festival last week was just the ticket!
Like many others I was a bit confused by the rebrand – Previously named the Spring Knitting and Stitching Show, which was a bit of a mouthful to be honest – apparently it’s been changed to distinguish it from The Knitting and Stitching Shows later on in the year.
This year’s Stitch Festival ran from Thursday 25th until Sunday 28th February and was held at the Business Design Centre in Islington. Just a short tube ride for me but apparently easy enough for everyone I met travelling from further afield.
I went without a plan and especially planned not to buy fabric.
But with minutes of arrival, I found myself fondling some awesome vintage bark cloth fabric at stand H49: Olive Road London.
I didn’t realise it was genuine vintage at first and was about to kick off when I saw exactly the same curtain fabric I’d purchased in Brighton 5 years ago which I made into a Capital Chic Martini dress. For a split second I really thought I had mistakenly bought a modern take on a vintage fabric – that I’d been sold fake vintage! And then the lovely stall holder reassured me it was genuine and we had a good chat about how it must have been as super popular then as it is now! I wanted all her bark cloth, especially a small piece of rose print that caught my eye just as I was moving on.
Soon after I waved to Tilly on her cute little stall. Always so cute. And always so busy. It was delightful to catch up with her at her recent book launch party for Make It Simple , so I didn’t feel quite so cheated of chat!
It was impossible to avert eyes at the fabric stalls. They were many and they were all fabulous. I particularly loved how The Textile Centre displayed their fabrics, deliciously draped on hanging mannequins. And some at just £5 per metre. Such a tease. One of the few things that holds me back from buying is that I must have a plan before I go adding aimlessly to my stash. I loved that black and green wiggle-dress fabric on the corner but I was ridiculously restrained.
In fact I was so proud of my power to refrain until I chanced upon M. Rosenberg & Son‘s stall. Gets me every time. One of my favourite purchases from them was the sparkly dog-tooth I used for my vintage Butterick coat. And their powers of lure was just as strong this year. How on earth was I supposed to walk past this?!:
I didn’t of course. Just as I stopped to take a closer look, I heard my name called across the other side of the stall. I looked up and was so excited to see Dibs Maxwell who I first met very many years ago, online at Dibs and the Machine. She now sells specially selected and stunning fabric at Selvedge and Bolts. Defo worth a browse! She fought her way round to my side and we hugged a big hug! No photo sadly to display we just carried on from where we left off, chatting and laughing (always laughing) And then she made me buy the fabric!!
We wandered over to see Sew Me Sunshine and The Foldline who shared a stall together. They too were chocca with customers so we said our hellos and terra’s and went on our merry way.
I wandered a little more in search of an expanding sewing gauge. But I couldn’t find one for looking. What I did want more at this point was a little sit down and a bite to eat. The cafe area looked fab with lots of healthy and delicious options but I tend to bring my own to events like this. Basically so I can skip the queue and guarantee I will get a truly plant-based option, not one that’s had the cheese flipped out of it! I sat on the mezzanine level along with like-minded visitors, looking down on the visitors buzzing around on the various levels and planned my next move.
I noticed that John Scott (John Scott Sewing World) was about to do a talk in the next half hour so I took a seat near the front of the hall and stroked my D&G fabric while I waited. I really didn’t expect the hilarity and the fun that followed. I recognised John but I can’t say I really knew that much about him at that point. Within seconds I was in stitches hearing about his stories in the film and TV industry. He really is an amazing story teller.
I loved hearing how his signature bridal wear included beading as much on the back if not more than on the front of a wedding gown, given that most of the photo opportunities involve the back view of a bride when she is talking to her guests!
I gasped when he told of the ballgown that he made for his mother to wear to a party and that was spotted by Princess Margaret across the room. She asked who the designer was and that’s how John began making couture dresses for the Royals. Hilariously, his parents were still largely unimpressed that he was a dress designer at that point and only started coming round when they saw his name among the credits of a Bond movie. But the acceptance came when after all the big blockbuster films – like Tomb Raider, Love Actually, and Notting Hill and all the TV shows, including the Catherine Cookson epics and Poirot (whereby all the costumes were made authentically to 1920s and 1930s fashions) – he joined Richard and Judy for a slot as the resident fashion expert on This Morning and stayed for 10 years! Now his mum was truly proud and told all her friends!
Seriously I could have listened to John all day. He was so uplifting. I felt like I’d been having a chat with an old friend. Plus I got a cheeky photo with him afterwards!
I left the talk inspired and hanging on to Johns best bit of advice to ‘let the universe guide you’. I generally do that but I loved that he reinforced the mission!
Next stop was a little stall run by Stef at Wear Your Art. She was demonstrating her brilliant dye sublimation crayons. I’ve never seen these before and I was blown away with how vividly they transferred to fabric.
There are two processes: the first is to draw a design on paper, place it face down on the fabric and the iron on the reverse to transfer. The second is to draw directly onto the fabric, place a protective piece of paper on top and then iron to fix design in place. The latter results in a richer colour especially if the fabric is man made. It works on natural fibres too but not quite as vividly.
I can’t wait to use my crayons to create a truly original piece of art to wear! If you fancy some too and didn’t grab a pack at the Stitch Fest you can order a set from Ebay here.
Nearby I spied the entries for the Stitch Festival Dressmaking Competition and I was so impressed with the entries. I picked three faves . . .
This is Weapons of Mass Reconstruction by Debra Wade:
She based the shape on the simple classic Kimono. The theme was inspired by Afghan war rugs, Russian tanks (named after flowers) and the patchwork reflected rebuilding over scars of terrorism.
It incorporated the contrast of delicate fabric and brutal imagery in a way that was both camouflaged and pretty.
No pattern was used and the materials were mostly reclaimed linen and cotton, tablecloths, clothing and curtains. I just loved the concept and the end result.
10.4tog jacket by Gillian Foster:
No pattern was used for Gillian Fosters 10.4 jacket either. She set about combining her love of watercolour painting, freeform stitching and a reclaimed duvet to create her masterpiece. I’m so fired up to be more free with my sewing already – oh the possibilities!
I also loved this outfit by Hannah Gait.
It was part of her graduate collection inspired by the blues of a midnight garden: using wool and silk fabrics with an embroidered vine design of her own. I’m not sure it befitted the evening-wear category but I would certainly wear this outfit at any time of the day.
A little wander on from here led me to a small collection of garments by Swanky Modes I had a quick look and a read before I went in to hear Esme Young talk.
It was lovely to hear Esme talk about her life and work. I knew nothing about Swanky Modes, the 70s Camden boutique she set up with her St. Martins Graduate friends, Judy Dewsbury, Melanie Herberfield and Willie Walters. So fascinating and inspiring to hear how they set about, creating crazy one-off outfits from bedding and shower curtains and practically anything they could get their hands on.
The small selection of costumes on display included
The Pyjamas from Bridget Jones
Dale Winton’s luxe suit from Trainspotting 2
The nurses outfit from Trainspotting 2
Dale Winton and Rachael Flemming in Trainspotting2
The Padlock dress worn by Grace Jones
The amorphous dress created by Esme’s fashion brand Swanky Modes
Daywear from the Swanky Modes label
Just as I was leaving the lecture theatre I spied Susan Young from SusanYoungSewing and ambassador for SewOver50 across the room. Always a treat to bump into your sewing friends but not least of all when they introduce you to two very lovely Sewing Bee contestants: Janet Pool and Juliet Uzor. I bloody love the sewing community!
I’m buzzing at this point. I can’t believe that a single ticket not only gave access to such a massive selection of quality stalls to buy from but also quality talks and demos a-plenty with a familiar face or ten to bump into along the way!
I wasn’t quite finished yet. I hovered around some more cool looking demos – embroidery and crochet – before I was drawn into the marvellous space hosted by King’s Ely Independent School, Cambridge.
The display was an amazing array of A-level textile students’ work. I was literally blown away with the high level of concepts and craftsmanship. The first one that caught my eye was entitled A Sense of Place by Katherine Wood:
I loved the mossy textures and fantasy woodland vibe along with the dripping threads and natural earthy colour tones.
I spoke to one of the school’s retired tutors who was delighted to show me around the exhibits. She was so proud of the student’s work and rightly so.
The passion for their subject was evident in the carefully chosen materials and colours and not least of all, workmanship. I couldn’t take my eyes off this coat of printed and embroidered hessian patchwork pieces. So original and so impressive.
And then this stunning dress … with a ruff no less. I do love a ruff. Such fabulous colour and textures formed with well considered placement of organza and chiffon and the copper metalic threads reflected the light so brilliantly. I really want to make a dress with a ruff now.
Thank you Kings Ely School, for such an awesome and motivating feast for the eyes. You are all very talented artists and designers and I will be waiting patiently for the day I see your names in lights and telling all that I saw your work first at The Stitch Festival 2020!
Believe it or not there was much more to see and do but sadly I have to end here. I’m as exhausted writing this as I was at the end of my day at the festival! I left with a couple of hours to spare, buzzing with new ideas, more motivated than ever and clutching my bag of stunning D&G fabric.
What do you gift an incredibly lovely, clever, successful and well-travelled friend who doesn’t really care for ‘stuff’?
I didn’t know either but I figured something handmade and personalised would be the answer. So I set about creating a tote bag with an appliquéd portrait of the ‘birthday girl’ on the front.
To be fair I’m sure this bag still counts as ‘stuff’ but with a nod to usefulness at least!
I took the photo of Katy at the pub where we met before we set off for the wedding of our mutual friends. She looked amazing in her gorgeous hat that was made by our amazing milliner friend, Jayne Hepsibah. And it seemed to me an all-round perfect pose for a stitched portrait.
This project has been on my reminder list for weeks. But (note to self) January is a ridiculously busy month in the world of children’s publishing and in my capacity as a freelancer this basically results in all work and absolutely no play. Read no sewing time at all!!
So, true to form, I started making it in the morning and had it ready for the party that evening!
It’s a pretty time-consuming but relatively simple process.
I enlarged the image to the correct size, on screen and then flipped it (so she was facing in the opposite direction) before printing out a copy on regular plain printer paper. I scribbled on the reverse with an HB pencil to create a carbon layer and then drew around the key areas of the image to leave a traced line onto the backing paper of some double-sided fusible webbing.
I cut around these pieces with extra allowance before ironing into the reverse of my selected fabric pieces. That way, when they were trimmed, each piece was as accurate as poss and the sticky bit reached to all the edges and points.
Then I ironed them in position on the bag front piece in order that there was a little overlap in places. It was so satisfying to see it come together at this point.
And then for the machine embroidery I used a regular black polyester thread. (Moon brand) with a white embroidery bobbin thread. I believe you can get it in black too but white seemed to work fine with no show-through. I also delighted in using some water-soluble stabiliser which is just amazing.
I used a Sharpie pen to draw the linework onto the stabiliser and then overlaid it onto the working area before sandwiching all into an embroidery hoop. Luckily my hoop just about fits under the presser foot so I could ‘draw’ all the finer detail using the freehand embroidery foot. Black threadfor the most part. And then silver metalic thread for the ring and watch, metallic red for the feathers. Worked a treat. No puckering. No skipped Stitches.
Even more satisfying was the action of peeling away the stabiliser. The little remaining fragments are washed away with cold water. Like magic!
Once dried, I sewed up the bag using some black cotton twill from stash and included a gingham lining and an ooobop label of authenticity, of course!
I’m so pleased with the result. Not least of all because it documentsfond memory of a lovely day we spent together, but it includes some memories in the fabric, too:
The calico is from a toile of a favourite dress; the hat is leftover from the red corduroy dress I made for my granddaughter and the silk lips are from my memade 50th birthday dress. All small scraps I couldn’t bear to part with but that now have the best use!
I loved making this so so much. Guilt-ridden in fact, for the joy it’s given me in the process of creating and giving.Add to that all the memories that bubbled to the surface along the way and you end up with a bag full of sentimentality.
Here’s to good friends, great parties and an eternal basket of spectacularly inspired sewing projects!
Did I imagine that Christmas and New Year break? Feels like it happened a lifetime ago… can I scroll back a few weeks pleeeease – it’s all a bit too much already! Any one else feeling the same?
I know I mustn’t complain. Too much work is the least of concerns for a freelancer. I’m just craving a sewing project soooo much! There’s so many in my head I’m literally going to burst if I don’t get to make at least one of them soon.
But it’s dark now… and I’m exhausted – story of my life. So I’ll just settle for a little fix from blogging a recently-made shirt for now.
I already had this animal print cotton fabric in stash and it was just enough to rehearse a new self-drafted design. One of the upsides of designing my patterns digitally is that I can test a pattern layout on computer screen to see how much fabric I’ll be needing. And also plan the positioning of pieces for minimum waste without having to crawl around the living room floor ‘playing giant Tetris’ while the fam barks at me to get out of the way of the telly – I don’t have a proper cutting table, see.
My recent self-drafted adventures have included a 70s style dress with flared sleeves and a Christmas Dress with bishop sleeves. Both of which use the same bodice block and knowing it worked both times meant I just had to add a bit of extra ease, add a button extension and lengthen to the hipline for a great fitting shirt. The sleeves would be simpler than both trialled before, and I found a great video tutorial on Bluprint to draft a one-piece collar. So what could go wrong?
Well this is where I classically mess up because I try and run before I can walk. I’ve never actually made up a straightforward self-drafted sleeve for myself yet. Just flared ones in both cases. So there was never any trouble with fit. But as my block stands, it’s too tight. Luckily I had my suspicions and made one sleeve up in calico to check first. Lord knows where I went wrong. But I seriously must have got lucky previously! To rectify (badly) I have slashed and spread to the sleeve cap. And it works, kind of. But it is still a bit snug. In fact it’s a bit too tight under the pits too so I need a revisit to this pattern before I make another.
I’m going to lower the underarm point and redraft that sleeve with less haste (read less excitement) and less speed! Because I’ve got more plans going forward and I’m going to need those pattern pieces spot on!
The collar worked out perfectly. It’s a camp or Hawaiian collar, so Suzy Furer told me on the Bluprint video tutorial. Basically a collar and stand, all in one. I did check out another tutorial on YouTube for the construction. It was kind of obvious but I just needed some reassurance.
Suzy advised to ditch the waist darts front and back but I really quite like the fitted aspect of it and I’m convinced that if I lower the armscye by half an inch or so more and sort the sleeves out it will be a much more comfortable fit.
So the consensus is that it’s not the greatest self-drafted shirt in the world but it’s a great starting point and I’m looking forward to a new and improved one. Might have to buy some new fabric though… I’m feeling stripes!
Have you kicked off the New Year with a new project yet? Pray tell. I’ll do my best not to get too jealous!