!
n ew STYLISH SEWING MADE SIMPLE
Go behind the scenes!
LEARN TO SEW
Mother’s Day
Gorgeous, easy makes she’ll love
Make this jacket and Liberty scarf tonight!
Plus
Exclusive
waistcoat
Easter gifts, bags & bunting Plus
pattern insIde
Sizes
8-18
www.lovesewingmag.co.uk
Inspire Imagine Create
TREND ALERT! COSY KIDS’ OWL HATS _LS11.P01 Front cover mock.indd 1
A BEGINNER’S GUIDE TO PATTERNS
ISSUE 11 UK £5.99
WIN A SEWING BEE SEWING MACHINE! 11/02/2015 17:24
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Welcome to the new issue of Love Sewing... The return of The Great British Sewing Bee (GBSB) always heralds a great deal of excitement and with the show and its viewing figures bigger than ever, it’s no surprise that here at Love Sewing we have witnessed a huge surge in new readers, which means it’s also a really exciting time for us. This month, to celebrate the return of GBSB, we welcome a new name to the Love Sewing writing team – Claire Louise Hardie. Claire (or CL as she is better known) is the author of the brilliant new Sewing Bee book, Fashion with Fabric, and the show’s sewing producer and contestant mentor. To launch her new monthly column, she tells us all about her role in the show, what goes on behind the scenes and all about the new book (which is also this month’s subscription offer gift!) If this is the first time you’ve picked up Love Sewing, you'll be pleased to know that this issue has an extra projects to help you get started – and of course we still have lots of content for our more experienced readers. Our covermount pattern this month, Simple Sew’s Jackie O jacket, is designed Behind the scenes of GBSB page 16 to appeal to all skill levels. If you’re daunted by dressmaking, this jacket is as easy to construct and sew as a skirt (it’s also designed to match the pencil skirt we gave away in last month’s issue) but can be adapted and customised according to your skills Of course this time of year isn’t just about the Sewing Bee, believe it or not. With Mother’s Day and Easter approaching, there's a lot to keep you sewing, and we have a great line-up of CL Hardie projects and ideas to help you start page 18 your spring sewing in style.
Helen McLaughlin, Editor
Easter bunny page 58
www.lovesewingmag.co.uk www.facebook.com/lovesewingmag www.twitter.com/lovesewingmag
Liberty scarves page 28
www.pinterest.com/lovesewingmag
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What's inside this issue of
new !
78
Go behind the scenes!
PLE NG MADE SIM STYLISH SEWI
LEARN TO SEW
Mother’s Dayy
Gorgeous, eas makes she’ll love
Make this jacket and Liberty scarf tonight!
38
Plus
Exclusive
Plus Easter gifts, bags & bunting
waistcoat pattern insIde
46 46
Sizes
8-18
k
mag.co.u www.lovesewing
Inspire Imagine Create
A BEGINNER’S GUIDE TO PATTERNS
TREND ALERT! COSY KIDS’ OWL HATS _LS11.P01 Front
cover mock.indd
ISSUE 11 UK £5.99
WIN A SEWING BEE SEWING MACHINE!
Cover photography: Cat Powell @ CT Images Hair & Make-up: Alison McMath Model: Rebecca@ Boss Models
REGULARS AND FEATURES 6
11/02/2015 17:24
1
LOVE SEWING LOVES...
The patterns, people, fabric and finds getting us sewing this month
12 LOVE SEWING LIBRARY
This month's best new books
14 THE GREAT BRITISH SEWING BEE
Meet the show's sewing producer, plus meet this year's contestants
18 THE THRIFTY STITCHER
Picking the right sized patterns
61
70
19 LOVE SEWING LETTERS
82 COUTURE SEWING WITH ALISON SMITH
20 MY PATTERN PICKS
84 HOW TO READ A SEWING PATTERN
Wendy Ward answers your sewing queries
The Little Tailoress Ami Lowden
22 READERS' MAKES
Your sewing projects shared
23 THIS MONTH I'M MAKING…
Colette's Anise jacket
61 WIN A SEWING MACHINE WORTH £249
We have a Janome 525s up for grabs
Interfacing zipper applications
86 SEWING MACHINE MAP 89 SHOP OF THE MONTH
L&C Fabrics, Cleethorpes
90 CLASSES, COURSES & WORKSHOPS
Tuition and meet-ups
95 READER OFFERS
This month's guest contributors
Victoria Peat
Mum-of-two and owner of the boutique and blog Little Black Duck, Victoria designed the puppet theatre and puppets on page 66. Her blog of the same name features sewing patterns and free tutorials. littleblackduck.co.uk
Kate Smith
Kate Smith is the founder of The Makery in Bath, which runs highly successful craft workshops and classes and has a second venue selling fabric, trimmings and other materials. Her garden tool belt (page 62) is taken from her latest book, Makery: Sewing, which is published this month. themakery.co.uk
Exclusive giveaways and discounts
Lauren Guthrie
Former Sewing Bee contestant Lauren runs the haberdashery and sewing tuition centre Guthrie & Ghani, in Moseley Village, Birmingham. She is also the author of the beautiful sewing book, Learn To Sew With Lauren. Her Liberty neckerchiefs can be found on page 28. www.guthrie-ghani.co.uk
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42
74
PROJECTS
Publishing & Advertising
26 JACKIE O JACKET
This month's free pattern gift
28 LIBERTY NECKERCHIEFS
Gorgeous gifts for Mother's Day
32 VINTAGE CARDIGAN MAKEOVER
Update your winter cardies
35 GENTLEMAN'S WAISTCOAT
A simple, versatile pattern
41 SPRING WEDDING FASCINATOR
62
A unique headpiece
46 MIA LIBERTY DRESS DOLL
Newstrade COMAG Magazine Distribution Craft Store Distribution Executive Jody Byron-Smith
[email protected] Tel 0844 826 0613
51 EASTER BUNNY GARLAND
An adorable scrap-busting project 58
Contact
Practical Publishing International Ltd, Suite G2 St Christopher House, 217 Wellington Road South, Stockport SK2 6NG
[email protected] www.practicalpublishing.co.uk Tel: 0844 561 1202 Fax: 0161 474 6961
Create something stunning to house your ongoing projects
59 EASTER BUNNY
A quick, easy-to-make and super-cute toy
61 THE MAKERY'S TOOL APRON
60
Subscription Enquiries
A practical Mother's Day gift
64 BUNNY TOTE BAG
A fun, cute spring accessory
66 POP-UP PUPPET THEATRE
Brighten up rainy days and whip up this fabulous portable puppet theatre
70 UPCYCLED DENIM BAG
Tel: 01858 438899
Love Sewing is published by Practical Publishing International Ltd ISSN 2054-832X
Subscribe to Love Sewing today... and receive your FREE The Great British Sewing Bee: Fashion with Fabric book
A stylish and reversible bag for everyday
73 VINTAGE QUILTED RUNNER
Mix and match fabrics for this fab runner
Turn to page 38 for more details
76 CUTE OWL HAT
A cosy felt hat with a cute appliquéd face
Fiona Hesford
Sussex-based designer and sewing tutor Fiona has worked in fashion and textiles design for over 20 years. She now runs the Sewgirl craft company and the Make Your Mother Proud classes and workshops. Her retro patchwork cushion can be found on page 78. www.sewgirl.co.uk
Group Sales Manager Kevin Edwards Advertising Sales Executive Noune Sarkissian noune.sarkissian@practical publishing.co.uk Advertising Consultant Jane Bates Subscriptions Manager Daniel Tutton Senior Art Editor Jennifer Lamb Managing Editor Lee Campbell Publisher Gavin Burrell Group Publisher Carol Jones Managing Director Danny Bowler Group Managing Director Robin Wilkinson
Distribution
Explore the serious and fun side to this special doll
54 PROJECT CADDY
Editorial
Editor Helen McLaughlin Art Editors Ian Danby, Jennifer Lamb Chief Sub-Editor Becky Higgins Sub-Editor Jessica Farricker Contributors Fiona Pullen, Alison Smith MBE, Wendy Ward Editorial Assistants Hugh Metcalf, Chantelle Salkeld
Claire Garside
The founder of Manchester-based pattern labels Simple Sew and Eliza M, Claire designed this month's free jacket pattern. To see more of her designs, see www.simplesew.co.uk and www.elizamvintagesewing.co.uk
All material © Practical Publishing International Ltd. The style and mark of Love Sewing is used under licence from Craft Media Ltd. No material in whole or in part may be reproduced, stored or transmitted in any form whatsoever without the prior written consent of Practical Publishing International Ltd. The publisher welcomes contributions from readers. All such contributions and submissions to the magazine are sent to and accepted by the publisher on the basis of a non-exclusive transferable worldwide licence unless otherwise agreed in writing prior to first publication. Such submissions are also subject to being used, reproduced, modified, published, edited, translated, distributed and displayed in any media or medium, or any form, format or forum now known or hereafter developed, for any purpose, in perpetuity.
Karen Harvey
Lancashire-based dressmaker Karen Harvey specialises in creating dresses, taking inspiration from the past and giving them a modern interpretation. A selection of her creations in styles stretching from the 1920s to the 1960s are available to view at her website, Reinvintaged. www.reinvintaged.co.uk
www.lovesewingmag.com 5
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BUYS & INSPIRATION
The patterns, people, fabric and finds getting us sewing this month
The Granville
The arrival of Sewaholic’s new Granville shirt pattern couldn’t be better timed. There are some beautiful floral-print shirts in the shops this spring, and this pattern – a flattering, feminine take on the classic fitted, front-buttoned shirt – will create the same look to a tee, with sizing proportioned for a pearshaped figure; a smaller bust and waist and larger hips. It has optional front pockets and long sleeves with tailored plackets and cuffs. Front darts add subtle shaping, and the back princess seams are designed to fit the curve of your lower back in an extremely flattering way. The yoke is self lined, and the two-piece collar looks sharp under a jacket or sweater. It’s also available in a fantastic range of sizes, from 4 to 24, all included in one pattern. It’s in stock now at www.thevillagehaberdashery.co.uk www.thevillagehaberdashery.co.uk, priced at £13.
Suffolk Garden by Dashwood
Bring summer a little closer with Dashwood Studio’s latest fabric collection, Suffolk Garden. The prints are the work of London-based designer Brie Harrison, who took inspiration from the quintessentially English summer flora and fauna of her mother’s garden. Each print originates from Brie’s sketches and drawings of dandelions, birds and ditzy prints and comes in a beautifiul retro colour palette of coral, grey, lemon and duck egg blue. A lightweight cotton suitable for dressmaking, quilting and general sewing projects, it’s in store now at shops including Plush Addict, The Cotton Patch and Homemakery, priced at £12 per metre.
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LOVE SEWING LOVES
Waffle Patterns
It’s thanks to Pinterest that we discovered Waffle Patterns, a Netherlands-based indie pattern shop run by a Japenese designer named Yuki. It was her fantastic funnel-necked Zipper blouson jacket we spotted and loved first, but after checking out her full range of e-patterns – a vintage-inspired collection of dresses, tops, skirts and jackets – we couldn’t decide which we wanted to make first. The Shawl Collar jacket or the elegantly retro high-neck Snowball dress? Make up your own mind at www.wafflepatterns.com, where you can also follow her blog, containing Yuki’s sewing-project tutorials and some free patterns.
SEW IT NOW: Spring dresses for girls
2
1 Included in the new book by Japanese designer Yoshiko Tsukiori (see page 12), this long-sleeved dress as simple as it is pretty, with minimum pattern pieces, unfussy shapes and lace-band detailing. For extra warmth, add a lining, or for warmer spring days, simply shorten the sleeves. Sizes: 3-10 years Where to find it: Girly Style Wardrobe, Yoshiko Tsukori www.laurenceking.com, £14.95 2 From Amelie Clothing in the Netherlands, this boho-style tunic dress is available as an instant download (with full instructions in English) from the designer’s Etsy shop, which sells a range of eight PDF patterns for equally lovely designs. Sizes: 3-8 years Where to find it: www.etsy.com/uk/ shop/amelieclothing, £5.41, 3 The Ethereal dress is a slouchy, sophisticated design by Figgy’s, which can be created as a blouse or a dress, finishing at any length, and with or without sleeves. A great-value e-pattern with lots of variations to take your little one from spring through to summer. Sizes: 18 months - 8/9 years Where to find it: www.figgys.my shopify.com, $10 (approximately £6.55),
3
1
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BUYS & INSPIRATION
The patterns, people, fabric and finds getting us sewing this month
SEWING ROOM SWOON This month’s Sewing Room Swoon shots are by Sarah Ford from Warwick, who is the author of the sewing and fashion blog A Million Dresses. She transformed a former spare room/office into her sewing den.
Got a sewing room to swoon over?
Send your photos to letters@lovesewing mag.co.uk
“When my husband asked if I wanted to turn his office into a sewing room, I had to ask if he was being serious! Once I knew he was actually serious, I quickly decided on colours and how I wanted it to look. I didn’t want to give him time to change his mind! “I didn’t need a dedicated cutting desk as I do most of my cutting during my lunch break at work, though I do have plenty of space if I need to. We needed to keep the sofa bed as my sewing room doubles up as our third bedroom so I hunted high and low for cushions to make it look enticing and break up all that charcoal. “I knew I wanted to make the room pretty and fill it full of things I love (other than loads of fabric!). I wanted a picture shelf rather than having pictures on the wall. I found most of the prints on Etsy and bought as many varying frames as I could get my hands on. I love the way it came together. “We already had the storage unit from IKEA so I just filled it full of fabric and notions. I can fit two rows of fabric in each cube so can make it look like my fabric habit is not that bad. I also have a cube full of sewing books and patterns – including the dress I make more of than any other, the Emery by Christine Haynes. In fact, Christine kindly sent me the PDF so it could take pride of place in my sewing room.” You can follow Sarah’s sewing blog at www.amilliondresses.com
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LOVE SEWING LOVES
Make the look:
SPRING FLORALS
Bold and blousy or delicate and ditsy – romantic floral-print fabrics are flourishing this season. What will you make?
T his month...
LEARN...
Clockwise from top left: Liberty Archive Lilac, £22 per metre, www.alicecaroline.co.uk; Makower Alison’s Flowers Pink Flower Scroll, £10 per metre, www.secretgardenquilting.co.uk; Anna Maria Horner Pretty Potent Eucalyptus 2, £19.95 per metre, www.myfabrics.co.uk; Moda Regent Street Lawn, £13 per metre, www.plushaddict.co.uk; Anna Maria Horner Honor Roll Overachiever in Charcoal, £12 per metre, www.thevillagehaberdashery.co.uk
to print your own fabric at London’s Fashion and Textile Museum. Taking inspiration from the current exhibition, Thea Porter 70s Bohemian Chic, the workshop will allow you to experiment with lo-tech techniques to produce a piece of cloth that you can turn into a cushion cover or a bag and create your own designs at home. £70, ftmlondon.org
CELEBRATE...
the fifth anniversary of The Sewing Directory and get the chance to win a sewing machine worth £999! Site sponsor Janome is giving away one of its latest models – the Atelier has over 170 stitches, a long arm and a stitch rate of up to 1,000 stitches per minute. The competition is open from 18th March to 14th April. To enter, visit www.thesewingdirectory.co.uk
www.lovesewingmag.com 9
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11/02/2015 17:42
On sale now!
32-P AG PAPE E R PACK
2 Free gifts gifts! FLOWER LOOM & 32-PAGE PAPER PACK PERFECT FOR CARDS AND PAPERCRAFT PROJECTS, HOME DÉCOR, EMBELLISHMENTS AND MUCH MORE
Worth £15.99!
Painting on cupcakes • crochet lambs • making mosaics jungle animals with felt • quick and easy birthday cards
BUY ONLINE AT WWW.MOREMAGS.COM LS11 P10 SH53 House Ad.indd 98
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LOVE SEWING LIBRARY
Our picks of this month's new sewing and dressmaking books
library By CHANTELLE SALKELD
GIRLY STYLE WARDROBE By Yoshiko Tsukiori £14.95, Laurence King Publishing If you’re interested in making clothes for children then this one’s not to be missed. Yoshiko Tsukiori’s Girly Style Wardrobe has 28 stylish and practical patterns for girls aged between 3 and 10 years. From a cute clasp purse to winter and smock dresses, these straight-forward shapes are elegantly finished with lace edging, bows and pockets. They also come with comprehensive instructions, which will come in handy for the complexity of these Japanese-style patterns, and hopefully make it easy to get hands-on experimenting with the designs.
URBAN SCANDINAVIAN SEWING By Kirstyn Cogan £16.99, Search Press
The 18 sewing projects in Urban Scandinavian Sewing are minimalistic in design, so even beginners will fly through them, and are interspersed with Scandinavian recipes – essential to make sure you don’t go hungry while you’re in your creative bubble. While you’re eating Grandma Vera’s Swedish meatballs, you may well be cooking up your next creation; whether that’s a quilt and a pair of curtains for your home, or a necklace and scarf for yourself. Kirstyn splits her book up into winter and midsummer, meaning you can keep on enjoying creating and embellishing all year round and this book will find a permanent place on your sewing table.
Image copyright: Lucky Spool Media
SCRAPS, INC. VOL 1 Complied by Susan Woods £17.99, Search Press If you’re on the lookout for a new project, you may be interested in Scraps, Inc Vol 1: 15 Block-Based Designs for the Modern Quilter. It offers you the opportunity to compile all of those once-loved fabric scraps in to an edgy-looking quilt. We love the intricate patterns in these designs, and understand making quilts requires a lot of work. This is why it is aimed at the more experienced quilter. Tips are scattered throughout this book to give you a helping hand, and simple-to-advanced templates are also included for those of you who enjoy a challenge. Good luck creating!
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LOVE SEWING LIBRARY
Book of the Month
MAKERY: SEWING By Kate Smith £14.99, Octopus Books
Kate Smith is the entrepreneurial spirit behind The Makery Emporium – a fabric and craft shop in Bath – as well as the author of the Makery book series. The latest release, Makery: Sewing, is full of fabulous little sewing projects to make and love, so we’re on a mission to find out what makes Kate tick. What was your first sewing project? The first proper project I can remember was a little ‘Lady’ sewing caddy I made for my mum in the early 80s. Think crocheted toilet-roll holder, only sewn rather than crocheted, with all sorts of little pockets and hooks to store thimbles, needles and thread. It was made using some floral Laura Ashley print chopped off the bottom of a maxi skirt, and had a little embroidered face. I must see if she still has it! I think I must have been about seven.
Do you have a favourite piece in Makery: Sewing? The Sweet Tin Footstool is my definite favourite. It was inspired by my gran, and I just love how the idea in my head turned out in reality! My youngest daughter adores it, and is very protective over ‘her chair’. I also love the combination of fabric used for it. Which project in the book would you recommend to a beginner and which would you recommend to a more experienced maker? The Patch Pocket T-shirt is a great beginner’s project. And if you’re more experienced, I would say the Smocked Purse and Men’s Washbag are a bit of a challenge. There are lots of projects in between too, though, with all sorts of different techniques! What’s your essential piece of sewing kit? I wouldn’t be without my quick unpick (often called a seam ripper). There’s not often a project I make when I don’t have to unpick at least a few stitches! And also my trusty orange-handled scissors,
which I store under lock and key. Woe betide anyone who ever uses them to cut anything other than fabric! What’s the toughest sewing lesson you’ve learned? Measure twice, cut once! What’s your favourite fabric at the moment? Hmmm, tricky. I love this bird print from the Makery Emporium – it makes the best lampshades and cushions– but I couldn’t not mention this floral print too. The colours are amazing and it features in a couple of projects in the book.
Find a project fr Kate’s Ma om ke Sewing onry: page 61 o f this issue
CRAFTING A COLORFUL HOME By Kristin Nicholas £17.99, Roost Books This book is bursting with bright colours and patterns, offering you innovative ideas to spruce up your home. These step-to-step projects are combined with a vivid range of photos of Kristin Nicholas’s farmhouse, where all areas are draped and hanging with crafts. She explores ideas in sewing, gardening, wall and mural painting and pottery, which provide you with unique and simple ways to style your home. So if you want to step into the bold and colourful, this might just give you the inspiration you need. www.lovesewingmag.com 13
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Meet this year’s contestants
Neela, 41, from Surrey
Marketing Manager Neela loves to make occasion wear and enjoys upcycling old saris to make dresses for her two daughters. “I’ll make things for my children and myself, mostly for Indian weddings. I have a massive family and we always have family functions,” she says. Originally from Bradford, Neela was taught to sew by her mother on an old Singer machine when she was eight. She started collecting patterns when she was young and now has an extensive back catalogue, which she uses for her designs. “I normally self-draft patterns for the girls’ outfits, but I tend to mix and match patterns when I’m making my own clothes.”
Matt, 37, from Berkshire
Paul, 54, from Cheshire
Matt learned to sew in the army at the tender age of 16 when he needed to mend and repair his uniform. He began to take his sewing more seriously over the last three years, teaching himself dressmaking skills from online tutorials and now proudly makes dresses for his wife Gemma, and fancy-dress outfits for their two young children. Matt finds sewing therapeutic and enjoys the engineering side of making a garment. He has often found himself the butt of his friends’ jokes for his more classically feminine hobby, although all of their wives are jealous of Gemma’s new wardrobe! Matt has recently challenged himself to increase his skills by branching out into more tailored garments. “I was fixated on the last series and when I saw the shout out for new sewists, my wife and friends kept egging me on. I eventually decided to throw my hat in the ring!”
Paul surprises people with his love of crafts. He sews out of frustration at the monotony of men’s clothing, and feels men aren’t well represented in the sewing world. Apart from his everyday wear, Paul also likes to make more theatrical clothes with costumes for historical re-enactments and dresses for his female impersonator friend. Paul learnt to sew by watching his mother as a child, and finally got his own sewing machine at the age of 20. He has been sewing ever since. Paul loves the pleasure he gets from creating something unique that you can’t buy in the shops. He has 30 years of sewing experience and describes his style as colourful and bright, and likes to reflect this in the clothes he creates. He has experience in a wide range of garments – from shirts to waistcoats, shorts to fleeces and even an English Civil War costume for his re-enactment society.
IT Consultant
Sports Physiotherapist
Alex, 32, from London
Corporate Sustainability Manager Alex is a Romanian-born businesswoman who’s been living in London with her fiancé Carl for the last five years. She started sewing in 2009 after buying a cheap sewing machine. Alex admits to being ridiculously competitive and claims she couldn’t live without her overlocker. She is as passionate about sustainability in her sewing as she is in her work, and hopes to encourage people to try and make clothes by recycling, upcycling and using sustainable fabrics. “I’m an obsessive compulsive sewer. When I’m making, something I want to sit there until it’s done. Often I sew till 1am or 2am because I want to wear it the next day.”
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Ryan, 20, from London
Annie, 62, from the Scottish Borders
Neil, 46, from Salisbury
Lorna, 69, from Kent
Amanda, 46, from Darlington
Deborah, 26, from Manchester
Dresser in West End musicals Ryan taught himself to sew at age of seven by methodically following patterns to improve his skills. Ryan compares sewing patterns to puzzles and with each new pattern, likes to increase the level of difficulty to really push himself. Ryan likes to make his own sportswear and has fashioned hoodies and running shorts on his prized possession: his overlocker. He is the youngest sewer to ever step into the sewing room, aged just 20 when the series was filmed. Ryan regularly visits museums and exhibitions to get inspiration for his sewing creations. He likes to dream big, and would love to see one of his sewing creations on the red carpet one day, or to have a display in the V & A,” he says. “I tend to sew when I’m sat watching a good movie so I’ve got something in front of me. I have the worst taste in films, I love fashion and things like that so I like sewing to Sex and the City!”
Retired Air Hostess Lorna has been sewing since she was 11 years old, after her mother took her for sewing lessons in Buenos Aires. She watched avidly, try out her new skills by making clothes for her dolls. Sewing became Lorna’s saviour when she was sent to boarding school in Scotland. Being dyslexic, she found sewing was the only subject she really excelled at. Married with two grown-up sons, Lorna says she likes the pressure and adrenaline of sewing to a time limit. She also likes to upcycle clothes, and often uses her husband’s old shirts and make new ones for her sons. More recently, Lorna has sewn glamorous gowns and dresses to wear on the cruises she enjoys with her husband Ray. “I tend to make most things because I’m 6ft tall," she says. "I like things that fit properly. When I worked in uniform, I bought it a size bigger to fit my length and then altered it.”
Former Dairy Farmer and Cheese Maker Retired Scottish dairy farmer, teacher and cheese maker Annie was an avid sewer in her younger life, having been inspired by an enthusiastic teacher at school. She took a break when she had children and a full-time job, but once her children had flown the nest Annie rediscovered her passion for the craft. She loved that she could make a dress on Saturday afternoon and wear it on Saturday night. Annie describes herself as a ‘larger lady’ who often finds it difficult to buy clothes that fit well in shops. She started sewing properly again three years ago when she needed an outfit for her daughter’s wedding, and was treated rudely while searching for something on the high street. She decided to make something to wear herself, and now sews every day. “I like the way I can make a garment that actually fits.” She adds, “Sewing is just so satisfying. And it’s so different from all the other things I do in life. I know it’s a cliché, but it’s my ‘me’ time.”
Deputy Head Teacher Mother-of-two Amanda is an avid sewist and blogger. Having learnt to sew when she was seven years old on her grandmother’s hand machine, Amanda enjoys sharing her skills with her pupils and would love to inspire all of the nation’s primary-school children to learn how to sew. Amanda was given a tailor’s dummy for Christmas in 2012, which she believes has totally transformed her sewing. She’s more in love with it now than ever and is producing garments that she is more and more proud of as a result. “I sew in the dining room and sit at a desk which looks into the garden. I have a very girly house and lots of boxes of sewing things. I’m very mathematical and like patterns – I also iron my patterns!” Amanda admits that she has rushed things in the past, but says: “I’ve realised it’s better to take your time and do it right the first time!”
Lieutenant Colonel in the Army Neil started sewing at school out of protest because the girls were allowed to join the football team. He was mocked by his troops for taking his sewing machine on tour to Bosnia and Afghanistan, until they realised how useful it was for their own uniform repairs and making curtains for their accommodation. Aside from his family, Neil has two extreme passions – sewing and rugby. He has been known to rush straight off the rugby pitch and home to finish a dress for his wife for dinner that evening. Neil picked up sewing from his mum and sisters, so is no stranger to women’s wear. He has even made three wedding dresses. “I have some bad habits,” he admits. “I’m always biting and pulling cotton rather than using scissors. I’m also lazy with pinning patterns – I start by pinning then I end up just cutting. I think part of my problem is I’ve never had a decent machine!”
Support officer A keen sewer and blogger, Deborah describes her style as ‘vintage with a modern twist’, and often combines patterns to make clothes perfect for her shape. Originally from Blackburn, Deborah now lives in Manchester with her husband Terence and works for Manchester Metropolitan University. Before that, she had a job in a fabric shop which she thinks definitely fuelled her love of sewing. Once she’s perfected a garment that fits her well she makes lots of other versions of it in different colours and fabrics. The garment she is most proud of making is her wedding dress. “If I have a project on the go I can’t wait to get back home!" she says. "If I don’t have a project planned I’ll have my tea and then I'll tidy my sewing room and start to make something. The longer I sew the more anxious I get if I don’t do something sewing related each day.” www.lovesewingmag.com 15
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INTERVIEW CLAIRE LOUISE HARDIE
Behind The Seams
Claire Louise Hardie is the secret eyes and ears of the Sewing Bee’s judges and the author of the new Sewing Bee book, Fashion With Fabric. Fresh from filming, she shares her favourite moments from the show and tells us all about the new book Interview: GEMA ENSENAT & HUGH METCALF
While Claudia, Patrick and May are back on our screens for the third series of The Great British Sewing Bee, there is a fourth, secret member of the team who viewers will never see. Clare Louise Hardie is the show’s sewing producer and onset mentor, and though she remains firmly behind the scenes, it’s her tasks and know-how that help decide who wins the coveted title of Britain’s best dressmaker. Professional wardrobe mistress, costumier, sewing teacher and writer Claire Louise (known as CL) has been with the show since its first series in 2011. After touring the world with the Royal Shakespeare Company, fixing trousers for Sir Ian McKellen and re-hemming frocks for Vanessa Redgrave, she now runs the Thrifty Stitcher sewing studio and teaching centre in Stoke Newington, north London. As the show’s sewing producer, her work begins long before even the auditions start, and involves sourcing tools and fabric needed throughout the series. She also devises the patterns and challenges and answers any questions the production team has about anything sewing related. She’s on hand throughout the auditions and, when the shooting takes place, CL acts as on-set sewing mentor when the need arises. Finally, she’s there for postproduction editing and fact checking. It’s her job to make sure that the audience understands the processes that are going on. “The show’s very much about people’s personalities, and the interaction between them,” she says, “but it’s also about being presented with a challenge that they don’t know anything about... so we want to get footage of them sewing, and the sewists’ approach to their sewing. Being the only sewist on set, I’m the only one that knows we’re focusing on the invisible zip that week, for example. It’s also my job to keep an eye on set, what’s going on – the judges can’t possibly watch everyone all the time, so if I see something that they might want to get involved with, it’s up to me to call their attention to it.”
CL is on hand throughout shooting to answer any sewing related questions
Do the contestants get intimidated when you’re watching over them? “Part of my role is to support the contestants during filming” she explains. “I know the sewing room and the challenges inside out, so I help them find a specific tool they’re looking for, or explain the wording on an instruction if they’re confused. As I’m not a judge, the contestants are always happy to let me cast an eye over their work, even if they’re not happy with their work and are struggling to get through the challenge. The Sewing Bee really showcases talent and the contestants trust me to help them get the best results on the day in the sewing room. I’ve become good friends with many of the contestants across all three series, and the hardest part for me is watching anyone leave, as I’ve been involved with each contestant through every stage of the show. I even cry when I watch them leave on air, which is daft as I know what’s coming.
“I even cry when I watch them leave on air, which is daft as I know what’s coming”
“The production team [who also make The Great British Bake Off] is good at making the kind of TV show that’s about people and feelings, and their approach,” she explains. “So
while it may seem mean to give a challenge that involves a technique they haven’t come across, by putting someone out of their comfort zone – you get to see their approach, and see more of their personality. “In spite of it being a competition, it’s a really friendly competition. When no one knows what they’re doing, they ask each other questions. The sewists all have a shared hobby, so for a lot of them they’re used to sewing on their own, and never interacting. Now they’re with other people who love it just as much as they do. Part of giving them challenges that they don’t know how to handle is that it sparks that chat, and makes them want to help each other.” Have any of the contestants ever surprised you with what they’ve created? “Every sewist that’s walked into the Sewing Bee room has inspired and surprised me. The quality of the sewing and the ideas they bring into the room are outstanding. Speed sewing against a clock in a timed challenge for TV is really tough, yet so many amazing clothes get made. I can’t highlight them now, as it would be a spoiler, but the forthcoming series has a couple of pieces that blew my mind! If I had to pick one or two pieces that I still think about, I’d choose Lauren’s finale dress, as I wasn’t
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CLAIRE LOUISE HARDIE INTERVIEW expecting her to sew a dress like that, and she pushed all her own sewing boundaries, and Tamara’s prom dress, because she used a really modern twist with neoprene, and created a dress I could see Carrie Bradshaw wearing.” What does she think is behind the revival in dressmaking and sewing? “I think we’ve had a shift in our culture. So when someone talks about high street clothes, and they say it’s made in a factory, most of us are quite divorced from the concept of making clothes – when actually a factory is just a big room full of people working really fast. It’s not a robot making your clothes if you buy from an expensive store on the high street. I think seeing human beings make clothes when you’re not normally exposed to it has become fascinating. People have said, ‘Oh, if they can do that, maybe I can do that!’. Also, we don’t have so many independent stores on the high street anymore, so no matter where you go, you’re going to buy the same clothes as someone else. If you don’t want to look like everyone else, the only way to do that now is to make your own.”
Tell us about the new book Fashion Fabric With Fabric… The focus is, really, fabric and how it’s the key ingredient to a successful sewing project. Fabric choices are uniquely personal, and for many it’s a reason to sew for themselves. We wanted to show that elegant, timeless designs can be made in multiple fabric types to create endless different looks. The simple shell top, for example, can be made from cotton or a luxurious lace, and everyone can make a version that’s unique to their own style and taste. The book has a project for every sewist, and we wanted to reflect the skills shown in the series by including some more advanced projects. The book contains enough projects and ideas to make your own capsule wardrobe. In the book we’ve reflected the sewing styles of many of the contestants, and have included projects that are cut without a paper pattern as well as some that include full-size patterns. Was it tough to choose between the projects featured on the show to include in the book? Series three saw some amazing projects made by the contestants, and it’s really hard to whittle them down to what appears in the book. Not every project on the series is suitable for it however, so that’s why there are designs specifically created for the book. When choosing projects from the series, it was helpful to have
Teaching at her Thrifty Stitcher studio in north London
been involved with the filming of the series, as I had a gut instinct when watching them being created on set. We’ve included projects that were an outstanding example of the contestants work, showcasing their skills and passion. Are there any in there you’d make for your own wardrobe? When designing the clothes for the book, I wanted to make a selection of timeless designs that could be worn by anyone at any age. I took a lot of inspiration from high street trends as well as high fashion, and tried to build a collection of patterns that could build a capsule wardrobe. As I’m not a size 8, twenty-something woman myself – I wanted to include shapes that suited all figures, including my own! I already have many of the clothes sewn up and in my own wardrobe. The drapey dress, for example, is one of my favourite patterns from the book, and I have made three versions already, with a couple more in the pipeline. It was important to me to know that the clothes from the pattern were comfy to wear, so both me and members of my team have road-tested many of the garments out in the real world. In fact, I have a 30-blog challenge launching soon, with a piece a day worn as part of my everyday outfits.
armhole. What I really love about this technique is that you can do it all on the machine, without any fiddly hand-sewing at the shoulders. My biggest struggle with this book was cutting down all the tips and tricks gleaned in my career and from contestants across all the series. I could have written the book just on those alone! Turn to page 19 for CL’s first monthly Love Sewing column The Great British Sewing Bee: Fashion With Fabric is out now, priced £20, www.quadrille.co.uk
What’s the most useful tip or technique that you’ve picked up? One of my all-time favourites is all-in-one neck and armhole facing, that was featured in episode one of series two, and has been included in the cotton shell top. It’s such a clean finish, and an easy way to neaten the edges of the neck and
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About me
letters Got a question for Wendy Ward? Or a project to share?
Get in touch by emailing us at
[email protected]
Q
Do I have to put all my pattern pieces on the straight grain of the fabric? Can’t I put them the other way?
A
The straight grain in fabric runs lengthwise, parallel to the selvedges (the neat, uncut edges on your fabric). The lengthwise threads (warps) are usually stronger than the threads that run across the width (wefts) and so have less ‘give’ in
Q
I keep reading that I should pre-wash my fabric before I start cutting out my pattern – do I really have to?
A
There are two main reasons for pre-washing your fabric; shrinkage and colour run. Shrinkage is really only a problem for natural fibres, but colour-run can apply to any fabric, so pre-washing is good practice so that you can chuck your homemade clothes in the wash with everything else. In reality, sometimes we forget to pre-wash and sometimes we’re just so keen to get started on a project we turn a blind eye to washing. If you don’t pre-wash, just be sure that when you do put your finished garment in the washing machine you choose a very gentle cool wash, or hand-wash it.
I have my own business called MIY Workshop in Brighton where I teach sewing, dressmaking and pattern cutting. I am a qualified teacher, have a degree in fashion and spent seven years working in the fashion industry before starting to teach in 2007. My first dressmaking book The Beginner’s Guide to Dressmaking is available now. I also design my own range of sewing patterns called MIY Collection. www.wendyward.co.uk www.miyworkshop.co.uk www.miycollection.com
them. A garment that has the straight grain running vertically through all the pieces will hang evenly and any bit of natural give in the width of the fabric is where it’s needed – around the width of the body. This is even more important in knitted fabrics, which often have very little stretch along the length but lots across the width.
Q
Why can’t I just choose the dress size I buy in readymade clothing when I’m choosing which pattern size to make?
A
I hear this so often from my students! Women’s dress sizes are meaningless. Pattern sizing tends to be different from ready-to-wear sizing for the same reason that I’ll bet you buy different-sized clothes in different shops. All that a dress size represents is what a retailer (or a sewing-pattern brand) calls someone of your proportions. What you really need are measurements. Measure your bust, natural waist (just under your rib cage) and your hips (over the hip joint, usually the widest part of your bum!). This is all the information you need when you are choosing your pattern size. See page 19 for more information on sizing
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The Thrifty Stitcher
In the first of her new monthly columns, The Great British Sewing Bee's sewing consultant Claire Louise Hardie shares her advice on choosing the right pattern size
WHY PATTERN SIZES ARE DIFFERENT
The most important thing to remember about sewing from commercial patterns is that the sizing is very different to high-street, readyto-wear sizes. Generally, pattern sizes are about 2 sizes smaller than British high-street sizing. The only way you can get good-fitting clothes from a pattern is to compare your own body measurements with the size chart provided on the pattern. To get a really good fit, you need to look at the pattern sizing in two steps. Step 1 – Buy the correct pattern pack. Patterns are often sold in two size ranges, so you want to make sure you’ve selected the right one. For a skirt or garment for your lower body, you’ll be basing the overall size selection on your hips measurement. You will then blend from the hips to your waist size. This means the skirt will fit your frame, and you’ll be either adding or taking away at the waistline. The last two columns on the first chart refer to the pattern size closest to each of your body measureents, and this will help you easily draw between pattern sizes. For example, you may be closest to a size 10 at the waist and a size 14 on the hip. Step 2 – Understand design ease and using finished garment measures to fine tune your fit and size selection. All clothes need wearing ease! If you cut a skirt to exactly the same size as your body measurements, then it’s impossible to breathe or walk! You need all your clothes to be a little bigger than you, so they’re comfortable to wear. The final bit of fine tuning to think about when choosing a size is the amount of design ease that’s been allowed in a pattern. Design ease is the amount of extra fabric in the garment over and above your own body measurements. If you compare your actual measures plus wearing ease with the finished garment measurements for each pattern you use, you’ll be able to see how fitted or baggy the garment will be. You can choose to go up a size if the pattern has come up tight, or down a size if the pattern seems very loose.
FINISHED GARMENT MEASUREMENTS
One of the best tips I’ve found for working with finished garment measurements is to measure your favourite clothes. Making a T-shirt? Why not measure the one you’re always wearing and use that as your benchmark for how much design ease you’d like in your new T-shirt? It’s a good idea to make a little chart of your favourite clothes, and compare new patterns to these. To help you understand design ease, here is an example. If I’m making a pencil skirt, I don’t want a lot of design ease over the hips, as this will look unflattering. The envelope back will have the garment measurements on it (eg 25” waist and a 38” hip). So if the finished garment measurement for size 14 is 3” bigger than my hips, I need to allow 1½” of wearing ease, which takes me to 39½”, so that leaves 1½” of total design ease around the hips on this pattern. In this instance, I’d cut my hips to size 14, and fit as I sew if they are a little too big.
HOW TO MEASURE YOURSELF
Wear close-fitting clothes like a vest top and tights, or underwear. Put your hands between your hip bone and rib cage and bend from side to side. This will help you find your natural waist. Most fashion dictates that clothes rarely sit right on the natural waist, but all patterns have been cut from this measurement unless they state otherwise. Make sure the tape measure is snug. Too tight or too loose and you’ll get the wrong size. When you take the measurements, keep the tape measure horizontal, and try and look straight ahead, so you don’t bend forwards. These are the main measurements you’ll need to determine pattern size: High bust – this is your chest measurement and is really close under your arm-pit, above the fullest part of the bust line. Full bust – this is taken around the fullest part of your bust.
Waist – this is your natural waist measurement, and is taken at the position of the elastic you tied around your waist. Hips – the fullest part of your bum, not the top of your hip bones. If you always need to shorten your skirts before you can wear them then you’ll need to check the finished length measurement of your favourite skirt against the pattern pieces, and shorten the pattern to match. Likewise, if you know you’ve got long legs, then you’ll need to lengthen the pattern pieces. By altering the pattern pieces before you even lay them on the fabric, you are already making a unique pattern piece tailored just for you.
BLENDING BETWEEN PATTERN SIZES
Use your experience of clothes shopping to help you adjust your patterns. Always buy for your waist and end up with baggy hips? Or do you need to buy for your hips and end up with a baggy waistline? Both of these exempts show that your figure crosses at least two sizes. Few of us are exactly the same size as the standard pattern sizing. The beauty of dressmaking is that you can blend a pattern between several sizes to get a custom fit! Let’s say your hip measure is close to size 14, but you’re a size 10 at the waist. Trace the biggest size (14) from the hipline down. Then using a ruler draw a new shaped line from the hips to the waist. Your traced pattern is now tailored to your own unique body.
Itching to make a pattern work better for you? Sign up for a class at the www.thriftystitcher.co.uk. CL Hardie’s new book, The Great British Sewing Bee: Fashion With Fabric, is out now, priced £20, www.quadrille.co.uk
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My Pattern Picks The Little Tailoress
Designer, pattern cutter and seamstress Amelia (Ami) Lowden records her sewing projects and inspirations as The Little Tailoress. This month, she launches her own pattern collection, starting with the Emmeline tee
Simplicity 3211
This is my favourite winter coat and it is so incredibly warm. I chose to use this Simplicity pattern because of the big lapels, which gave it an instant 1940s feel. I love the way the coat is fitted, just skimming in at the waist, which is flattering and classic. I adore this shade of Duck Egg Blue but I couldn’t find buttons that went with it anywhere – I ended up painting giant gold tone snaps with a blend of three Airfix model paints! I think this pattern would be perfect in a classic dark navy. www.simplicitynewlook.com
Retro Butterick 5605
This dress looks like such a simple shape but is actually a really interesting design. It is also a labour of love as it involves sewing four reinforced inverted corners on the bodice and four on the bodice lining. Totally worth the effort as I think it is possibly one of my most-worn summer dresses. Perfect for summer picnics! www.jaycotts.co.uk
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MY PATTERN PICKS
Reglisse Deer and Doe
I am a huge fan of the French pattern label Deer and Doe. I think I was drawn in initially by the romantic appeal of making something French but soon discovered that her designs are beautiful and drafted fantastically. Reglisse is actually a dress pattern but once I had made the dress I decided I needed to alter the pattern to be a blouse as well. I just love the pretty tie detail at the neck. I have a few of these in my wardrobe now but this powder blue silk crêpe one is my favourite! boutique.deer-and-doe.fr
Retro Butterick 5209
The Retro Butterick pattern collections get me every time! I really love vintage sewing patterns and I think these re-issued ones are a fab idea! This dress fitted me straight from the pattern envelope and I love everything about the shape. I am currently making one in dusky peach crinkle silk and I think it’s set to be one of my all-time favourite makes. www.jaycotts.co.uk
Self-drafted lace dress
I drafted this pattern towards the end of last summer during a really hot spell. I was in need of something free and floaty to wear as the weather was relentlessly muggy. This is definitely the comfiest dress I own, and I love the romantic, gypsy feel it has to it. I will be making several of these in the spring and plan to release it as part of my own pattern label too.
The ess x r o l i a T e l t t i L To sign up for The Little Tailoress blog, visit www.sewinglondon.co.uk
The Little Tailoress patterns are available at www.littletailoresspatterns.co.uk
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LOVE SEWING READER'S MAKES
Readers’
MAKES
star Letter
P I made my four girls matching skirts using the easy no-pattern, ribbon-trimmed skirt article. The Liberty fabric cost only £12.50 from the bargain bin at The Faff Rooms (my local sewing shop), making the skirts extremely cost effective. Thank you! Sarah Dawes
P This my Ruby dress I made for my wedding. As it was in Vegas, I wanted something easy to wear and cool as it was 35˚C when these photos were taken! Love, love, love this dress pattern – it’s really easy and quick to make! Jane Phipps
P After seeing everyone else’s Ruby I thought I would make one. I added 11" to the skirt and made the dress fully lined as the cotton is quite thin. Not bad from a £7 Asda duvet! Jenny Sari
P Here’s my Bella dress – I changed the sleeves to be straight and longer but LOVE this pattern and dress. Thank you! Gabby Young
P Just finished this skirt from the latest issue. When I put the facings in, I added a lining so it sits really well. Anne Frostick
If you've made something using the projects or patterns in Love Sewing, tell us about it and we'll publish it. Share it on our Facebook page or email us at
[email protected]. Each month's Star Make will receive a Minerva Crafts fabric bundle worth £25, handpicked by Vicki at Minerva herself! 22 www.lovesewingmag.com _LS011.P22 reader's makesV2.indd 22
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THIS MONTH I'M MAKING...
THIS MONTH I’M MAKING…
THE ANISE JACKET BY COLETTE In the first of our new monthly features, the Minerva Crafts Blogger Network team share their latest projects. This month, Winnie from Bath, aka Scruffy Badger, shows off her Anise jacket
"So here it is, the most proud moment of my sewing history! It’s lined, it has welt pockets and it has bound buttonholes. It has the cutest Peter Pan collar that sits with such a lovely roll over the neckline. It fits me like a glove, with enough room for a cardigan or sweater. It’s cute, cosy, but most of all, I feel I have done a really good job. You might be like me with the things you make – are you the first one to point out the flaws when someone offers you a compliment? Well, for this jacket, there is only one: a slight 80º corner at the inner lining. If you see any others, please keep them to yourself and maintain my illusion! I have made a couple of more complex, semi-tailored items before so I anticipated a lot of preparation and nerve-wracking techniques for this jacket. You have to be patient with a make like this. It will not be completed in a day unless you are a pro or don’t sleep. I chose a grey flannel fabric for the outer and polka-dot satin for the lining. I also used calico (muslin) for underlining. It took me about four sittings to make this, in stints of between four and six hours. The Anise pattern has a supplementary instruction booklet you can buy if you
need more help, but I have to say that the instructions were extremely clear in the pattern alone. However, I may have found it easier than some, as I have a few coat makes under my belt, and so have those experiences to build on. There is a lot of work that you have to do before you start constructing the jacket itself. If you opt for bound buttonholes, you need to make them as one of the first steps, which feels odd since buttons are usually one of the finishing touches. You can make this jacket with regular buttonholes, but I was always going to make bound buttonholes (by following the ebook on www. didyoumakethat.com). And I think they look pretty smart this time. The collar is cut with two pieces – an upper collar and the undercollar (which is cut on the bias). There is also an extra piece of interfacing, with its own pattern piece that looks like a crescent moon. This is for reinforcing the collar roll, and I think it’s what makes the collar behave so beautifully, with enough loft before rolling as it folds.
“It’s cute, cosy, but most of all, I feel I have done a really good job” The sleeves are cut in two pieces and set in with some gathering stitches at the sleeve head. This fabric sucks up gathers like a sponge, absorbing the tucks into its wonderful dense self. And it is like a blanket. I love it! The lining has special pieces for the front and back, but uses the same sleeve pieces (but with a shorter hem). The centre back is designed for a large expansion pleat. I decided not to bag the lining. This time, I followed the instructions – attaching the sleeves to the lining at their hems, then hand-sewing the lining sleeve head into the lining body. The main hem is hand sewn – first the jacket’s hem itself, then the lining’s hem is hand-stitched but hidden under the lining’s hem fold. The most fiddly bit is the front facing corners where the lining at the hem and facing meet to form a right angle.
Working with this flannel was a joy – it was easy to press underneath a silk organza cloth, with steam. And it is very forgiving; hand stitching just disappears within its dense fibres. Sewing this jacket has helped me decide that I need more makes like this in my projects, so that at least some of my future handmade wardrobe is invested with risk and learning. I don’t always need to always make clothes quickly!" To find out more and the list of materials used, visit www.minervacrafts.com/ bloggernetwork/post/anise-jacket. Follow Scruffy Badger's blog at scruffybadgertime.co.uk
The Minerva Crafts Blogger Network The Minerva Crafts Blogger network is a collection of amazing sewing and craft bloggers from across the world. Every month each blogger creates a unique kit from the thousands of gorgeous fabrics and notions available at Minerva Crafts. In turn they wow us with their makes every month by blogging a project made with their kit on the network. There are new projects going live daily to inspire and educate sewists of all levels and abilities. Each blogger's unique kits are available to buy at www.minervacrafts.com
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35
Projects Waistcoat
24 pages of projects start here
Easter bunny
58
Jackie O jacket
Denim bag
70
26
53
Bunny bunting
O FASCINATOR O WAISTCOAT O EASTER BUNNY O DENIM BAG O OWL HATS O
With Mother's Day and Easter on the way there's a lot to keep you sewing this month, from Liberty scarves to Easter bunny toys and garlands. And if you're off to a wedding this spring, why not complete your look with a unique, hand-sewn fascinator? Or whip up a dapper waistcoat for him? www.lovesewingmag.com 25
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ok. te the lo Comple eckerchief n is Make th age 28 on p
Jackie O jacket
If you’ve never tried a jacket before, this is a great one to start with. Easy to customise and adapt, it’s really versatile and looks as great with a formal skirt as it does teamed with jeans Project: CLAIRE GARSIDE Photography: CAT POWELL
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JACKIE O JACKET
MADE IN THE UK
THIS MONTH'S The ‘Jackie O’ Jacke
The ‘Jackie O’ Jack et #009
t
A perfect jacket for the stylish, simple-to-makenovice jacket maker! This jacket is inspired ultimate style icon, by the Jackie Onassis. This jacket is a simple Chanel-inspired version of a design classic. Try making in a gorgeou s Linton tweed for Chanel look! a genuine
FREE PATTERN Suitable fabrics
Tweeds, bouclé,
boiled wool, coating
Size chart
Size
Bust
Waist
Fabric Reqs (ms)
Hips
45” Wide
26’’
35’’
36’’
28’’
38’’
37’’
30’’
40’’
14
39’’
32’’
42’’
16
41’’
1.7
34’’
44’’
1.22
50cm
43’’
1.7
36’’
46’’
1.22
50cm
1.7
1.22
50cm
18
1.7
Size UK 8-18
1.7
1.22
50cm
1.22
1.7
50cm
Suitable fabrics
Tweeds, bouclé,
1.22
50cm
Waist
Fabric Reqs (ms)
Hips
45” Wide
26’’
35’’
36’’
28’’
38’’
37’’
30’’
40’’
14
39’’
32’’
42’’
1.7
33’’
1.7 1.7 1.7
60” Wide Interfacing (100cm)
1.22 1.22 1.22 1.22
50cm 50cm 50cm 50cm
16
41’’
34’’
44’’
18
43’’
1.7
36’’
46’’
1.22
50cm
1.7
1.22
50cm
sewing machine scissors pins tailor’s chalk (optional) thread (good quality)
info@simplesewpattern s.com www.simplesewpattern s.com
info@simplesewpat terns.com www.simplesewpatt erns.com
updates and giveaways
Bust
8 10 12
What you will need
sewing machine scissors pins tailor’s chalk (optiona l) thread (good quality)
GIFT
boiled wool, coating
Size chart Size
What you will need
Join us on FaceBook and Twitter for regular design previews,
The ‘Jackie O’ Jacket
A perfect jacket for the novice jacket maker! This stylish, simple-to -make jacket is inspired ultimate style icon, by the Jackie Onassis. This jacket is a simple Chanel-inspired version of a design classic. Try making in a gorgeous Linton tweed for Chanel look! a genuine
60” Wide Interfacing (100cm)
8 10
12
33’’
Adventurous Beginner Level
Join us on FaceBook and Twitter for regular design previews,
updates and giveaways
Simple Sew sewing patterns are designed with style and ease for the modern stitcher. of construction in Your pattern comes mind with full written online tutorials and and drawn instructio full email support ns, to help you to create your own style... simply.
Claire says:
“This classic bolero-style jacket is a great wardrobe staple as it is, but if you want to make your own variations, you could easily add pockets on each side of the jacket, topstitching them on carefully. The design of the jacket is inspired by the famous Chanel classic, and if you really wanted to emulate the look, you can topstitch some trim around the edges of the jacket. Merchant & Mills have some great Harris tweed trim that’s perfect for this. You could also add buttons using the automatic button-hole function on your machine – try one middle fastening, or a row of three or four fancy covered buttons. For fabrics, I recommend a mid or heavy slub or a regular linen. You could even go for a mid-weight denim. We used a lovely indigo linen for this version, while the obvious choice for a more formal look is a classic Linton tweed.”
rmal For a fo in it y tr , look n You ca . d e e tw d also ad pockets
We used... Raw Linen Indigo, £15 per metre, www.merchant andmills.com Linton tweed in blue and green, £26 per metre, www.linton direct.co.uk
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LIBERTY NECKERCHIEFS
Lauren Guthrie’s
Liberty neckerchiefs
Using just a small piece of beautiful soft lawn, these neckerchiefs are gorgeous gifts for Mother’s Day. Make them using a simple stay stitch or a more professional rolled hem Project: LAUREN GUTHRIE
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LIBERTY NECKERCHIEFS
Lauren says:
“I first started making these little neckerchiefs in order to use some of the lovely printed lawns that I had in my fabric stash, but without cutting them up too much. It’s also a good way to use up leftover pieces of fabric. You can wear the scarf around your neck to add contrast to a plain top, or wrap it around your wrist as a bracelet. The rolled hem makes the scarf fall beautifully and can be done either by machine or by hand. You can buy a special rolled-hem foot for most machines, but you can also do it using an ordinary foot. A hand-rolled hem, used for the second scarf, is a bit more work but produces a more rounded edge, with concealed stitches.” SKILL LEVEL: O MATERIALS: O at least 50cm-square fabric (such as cotton lawn or other lightweight cotton, or silk twill. The piece should include the selvege along one side) O co-ordinating thread O pattern paper (optional)
edge. Leave long thread tails for sewing in later. Continue in this way, one side at a time, until you reach the starting point.
Using a normal stitch length, machinestitch 1cm from the raw edge, all the way around the square. Known as stay stitching, this preliminary line of stitching will prevent the edge of the scarf from stretching out of shape as you stitch the hem. This technique is also often used to prevent a curved edge from stretching before it is seamed. Trim the raw edge to 5mm outside the stitching. Place the scarf on a flat surface, WS up. Starting at the top right-hand corner, fold the adjacent right-hand edge to the WS, just up to the line of the stay stitching, then fold again to hide the raw edge. For the time being, you will need to fold only the first 5cm or so of this edge.
Thread each of the loose beginning threads into a hand-sewing needle and, using a backstitch, hand-sew the remaining sections of the hem at each corner. Trim any stray ending threads as close as possible.
VARIATION: HAND-ROLLED HEM
HOW TO MAKE:
Place the scarf on the machine and insert the needle onto the double fold, about 2cm away from the corner. Because the fabric is quite fine and you will be working close to the edge, starting at the corner itself might cause the fabric to snarl up in the machine. Holding the double fold in place, topstitch it down. Continue to fold and roll it as you move along the edge. As you stitch, gently pull on the folded edge to create tension in the fabric – this will also help to prevent the fabric from getting bunched up and caught in the machine. Cut your fabric. If the fabric is larger than 50cm square, cut a square of this size from dressmaker’s pattern paper, then use this to cut out a square of fabric the same size. Align one side of your pattern with the selvedge to ensure that you cut on the straight grain.
Stitch all the way down the first side of the scarf, right to the corner. Do not pivot the fabric as usual (the fabric will be too fine for this) and do not reverse stitch. Cut the ending threads to about 2cm – these will be secured inside the corner when you secure the beginning threads in Step 6. Fold and stitch the next side of the scarf, starting at the corner where you just finished the last edge, in the same way as you did on the previous
Cut your fabric and stay-stitch the edges as for steps 1 and 2 of the machine-rolled hem. You will need to work the stitching at your ironing board, or on a cushion on your lap, using a pin to anchor the hem while you stitch.
Thread a sharp needle with one strand of thread and knot the end. Lay the scarf, wrong side up, on the ironing board. Starting at the upper right-hand corner, fold the raw edge to the wrong side of the fabric twice until the stay stitching is hidden. Insert a pin through the fold and into the ironing board.
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LIBERTY NECKERCHIEFS
Insert the needle into the fold and secure it with a little stitch. Work from right to left along the edge of the scarf, rolling the raw edge to hide the stay stitching.
First, take the needle through the hem for 1cm. Pick up just a few threads of the main section just below the point where the thread emerges. This tiny stitch should be virtually invisible on the RS. Take another 1cm stitch through the fold, just above the tiny stitch. Continue in this way all along the first edge of the scarf, pulling gently on the stay stitching to create tension to help you roll the raw edge. Move the pin along as needed to provide resistance and anchor the hem. When you get to the next corner, carefully fold down the raw edge to get the hem started, and put an extra couple of stitches in the corner to hold it in place. Anchor this corner with a pin to provide tension. Repeat these steps until you are back to the starting point. Fasten the thread with a couple of neat backstitches. This hem is supposed to have a rounded finish, so don’t press it flat!
Learn to Sew with Lauren by Lauren Guthrie (Mitchell Beazley, £25) is available to Love Sewing readers for the special price of £17.50, plus free UK P&P. To order, please call 01903 828503 quoting code: Sew/MB613. Offer subject to availability. Please allow seven days for delivery.
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VINTAGE CARDIGAN MAKEOVER
Vintage
Bored with your winter cardies? Give them a spring update using simple embellishment and vintage inspiration
Photography: Claire Griffiths
cardigan makeover Project: KAREN HARVEY Photography: Cat Powell & CJ Griffiths
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VINTAGE CARDIGAN MAKEOVER
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Karen says:
“Spring is a season when we need still to keep our warm cardies to hand but if you feel a need to brighten up your old cardie, this project will talk you through adding a vintage flair. My inspiration for vintage-style upcycling often comes from Pinterest and I found a great original vintage cardigan upon which I based this look. This is a budget-friendly makeover as the main additional purchase will be the ribbon and markets and fabric shops such as Abakhan sell individual offcuts or large bags of end-of-line ribbon for a pound or two.” SKILL LEVEL: O MATERIALS:
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cardigan various satinised ribbon 3m cylindrical or leather thong cord needle & thread
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HOW TO MAKE:
Decide on your design and whether you are going to have it on one or both shoulders of the cardigan. I took my inspiration from stems and leaves but you could also incorporate sew-on motifs in your design if you wish. There is no need to draw a template; the design can just flow organically as you sew. For the stems of the design you will need to roll the ribbon as you sew over it. (See pics A and B.) Carry on doing this until you have a length that can be cut up once laid in your desired pattern (I worked with approximately 1m lengths).
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On the opposite raw edge of the ribbon, fold over the edge approximately 5mm and sew a gathering stitch along it. (See Pic E.) Pull the gathers together and over-sew the underside of the leaf as shown to secure it. (See Pic F.) Trim any fraying or stray ends. Repeat steps 3-6 to create as many leaf shapes as you require for your final design. Once you have prepared your components you can start pinning the design to your cardigan. You can sew it in place as you go if you like but I prefer to be able to move it around and add as I go along. (See pics G and H.)
Prepare leaf shapes from the wider ribbon pieces (I find approximately 2” diameter works best). You will need to cut a 3” piece if using 2”-wide ribbon, but if you have 1”-wide ribbon, cut it to approximately 1½” long. This will make the length of your leaf. (See Pic C.)
Fold and pin the leaves as shown to give them a more leaf-like appearance. (See Pic I.)
Fold over two corners of the raw end of the ribbon to make a point and then sew the two sides together on what will be the underneath of your leaf. (See Pic D.)
You could also add your own or readymade flower embellishments if you wish. Check out our website at www.lovesewingmag.com for details on how to do this.
Sew the leaves in place and repeat for the other shoulder until you are happy with the finished effect.
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THE MAKERY’S TOOL APRON
Gentleman’s Tweed waistcoat What could be more British than a handsome waistcoat in traditional Harris tweed? With this simple, versatile pattern you can adapt the design and look to suit the occasion Project: ELLANNA JENNINGS Photography: HUGH METCALF
Use your free template
Ellanna says:
“Slightly heavier fabric, like the Harris tweed we used, works best for this project, but it is all down to personal preference and the occasion. We chose a lining fabric that matches the top fabric but why not try something jazzy and patterned? We chose our buttons to match the fabric but there are all sorts of fantastic designs available! You could use more or fewer buttons, or perhaps even go for a casual look with no fastenings, again, depending on personal preference. The interfacing is an optional extra, but helps to stabilise your fabric and give the garment more structure and shape"
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GENTLEMAN’S TWEED WAISTCOAT
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SKILL LEVEL: OO MATERIALS: O free template sheet O 1.5m main fabric O 1.5m lining fabric O 1.5m fusible iron-on interfacing (optional) O 5 buttons O tailor’s chalk or sharp pencil Note: Seam allowance is 1.5cm throughout
Choose the size of the waistcoat you wish to make and select the appropriate line using the sizing guide. (If you’re not absolutely sure of your measurements, it’s probably best to choose the larger of your options.) Either cut around the pattern, following the correct line (remember the pocket is optional so you may not wish to use these pieces), or trace the pattern if you wish to keep your original paper copy for future reference or multiple use. HOW TO MAKE:
Pin the pattern piece/s onto your chosen top fabric, making sure the straight grain lines flow in the right direction with the fabric and allowing for at least 1cm seam allowance around each. Using good-quality tailor’s chalk or a sharp pencil carefully draw around each piece on the WS of the fabric. (Remember that the body of the waistcoat is cut on the fold, so once you have drawn around the pattern you may wish to unfold the fabric and place the pattern on the other side to create a solid line.) Repeat this step to create the lining and
interfacing pieces for the waistcoat. (See pics A and B.) Cut around each piece (remember your seam allowance). You will then need to fuse the interfacing to the WS of the top fabric, taking care not to use the iron on too high a temperature. If you wish to include the pocket follow the steps in order, and if you’re opting for no pocket continue from Step 9. (See Pic C.) To create a pocket you need to choose where you would like it to be (the chest works well but there is adequate space elsewhere). Mark a line approximately 3” long and ¾” deep on the right side of your top fabric using chalk that will wash off or a coloured pencil that won’t be visible. Mark this with two lines for the lengths – there is no need to mark the smaller lines for depth. (See Pic D.) Be aware that for a chest pocket you may need to angle this shape to fit. Repeat this shape on your ‘pocket bag’ pattern piece approximately 1” from the top. Pin the pocket bag onto the WS of the main pattern piece and stitch along the two lines, making sure you backstitch at either end to secure the pocket. (See pic E.) Take care to stop and start in the same place on both the top and bottom lines to avoid a wonky pocket! It is worth taking your time with this. Once this is done, remove the pins and snip between the lines through both layers of fabric to create the opening for the pocket. Cut this line at an even distance between top and bottom, stopping
about ½” from either end, then snip into the corners, taking care not to cut into your stitches. (See Pic F.) Push the pocket bag through to the WS of the top fabric. Press the opening with your iron on a low heat to make sure both layers of fabric are flat and even. Take the top section of the pocket bag and press it downwards. Once this is done create it back up, pressing a fold that covers half of the opening of the pocket. Repeat this step with the bottom section to create a concealed opening. Again, take care with this step as it can be a little tricky. This is known as a ‘double-welt’ pocket’. (See Pic G.) You can then turn back to the RS of the top fabric and top-stitch around the edge of the opening you have created in order to secure the layers in place. You may wish to leave this as your finished pocket with an exposed opening – if this is the case, continue with the next step. If you wish to conceal the opening, create a ‘pocket flap’ using the pattern piece provided. (See Pic H.) You will need to turn and press the seam allowance to the inside to avoid any visible raw edges; you can then pin the flap over the opening, ensuring it covers all the stitching around the edges and, once again, top-stitch around it to secure, leaving the top length open to ensure the pocket is functional. (Alternatively, you may wish to use this piece to create a faux pocket.) To finish the pocket bag you will need to fold up the bottom half so it lines up with the top
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GENTLEMAN’S TWEED WAISTCOAT
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We used... Grey Herringbone Harris Tweed, £42.99 per metre, from www.remnantkings.co.uk
Try it with... M
edge and press it to hold it in place for sewing. Sew around each of the edges of the pocket bag only, taking care not to catch the top fabric in the stitching. (See Pic I.) Lay the lining piece RST with the top fabric piece. Pin around the lines to stop the pieces from slipping and stitch around all the edges, leaving a 3” gap at the centre back and along the straps (take care here not to trap the pocket bag in your stitching). You can then pull the waistcoat through the gap on the bottom edge to creates a ‘bagged-out’ effect. (See Pic J.) This can be quite tricky but be patient – you might want to use your scissors to carefully push out any corners so the shaping is correct. Press the waistcoat flat again. With the waistcoat folded RST, stitch the top fabric of both straps together. (See Pic K.) You can now fold in the seam allowance of the lining of the strap (you might want to press it in place)
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and slip-stitch it closed by hand so that no seams can be seen on the inside of the waistcoat. Turn the waistcoat the right way and use the same slip-stitch technique or a neat top-stitch to fold in and close the seam allowance in the gap on the bottom edge. (See Pic L.) If you wish to add buttons decide how many you want (we chose five) and then mark out even spaces along the front RH side of the waistcoat, checking that when overlapped to the left when fastened the centre front will still look symmetrical. (See Pic M.) To determine the length of the buttonholes you will need to measure your buttons. Buttonholes can be created using using a number of methods: hand-stitch them to create a rectangular shape with a slight gap to allow you to snip into the fabric, use a zigzag stitch on your machine to create a tight satin stitch, again to create a rectangle with a small gap for cutting, or use the automatic buttonhole stitch on your sewing machine if it
Moon Glamis in Opal £41 per metre, from www.remnantkings.co.uk
Country Mile Check Wool, £35 www.merchantandmills.com
Camel Check Wool Heavy Suiting, £17.99 www.minervacrafts.com
has one. Sew through both the top fabric and the lining. Whichever method you choose for your buttonholes, you may wish to have a few attempts on scrap fabric first. Stitch the buttons onto the front left-hand side of your waistcoat to correspond with the buttonholes to finish. (See Pic N.) O
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Spring Wedding
fascinator Vintage specialist Karen Harvey shows us how to create a unique headpiece to give a special outfit a beautiful finishing touch
Top tip
If you would like alternative flower decoration ideas for the top of your fas cinator, see our how-to gu ide at www.lovesewingma g.com
Project: KAREN HARVEY Photography: CAT POWELL & CJ GRIFFITHS
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FASCINATOR SPRING WEDDING
Karen says:
“It’s a lot easier than you might think to make a fascinator. The materials can be adapted to suit what you already have and you only need a small amount of fabrics. Try using scraps of opulent silks or satins you may have in your stash. You can buy a readymade sinamay (moulded straw) base from most haberdashers, Abakhan or from ebay for as little as £2 – £3. Alternatively, you can make the base from an old cereal box or buckram. The latter is the hardest to work with and probably the most expensive, but if you buy a length you will be able to use it for more fascinator projects in the future. Embellishment is a matter of personal style and you can make it as fancy or as understated as you like. I delved into my collection of odd earrings, buttons, hairclips, trim and old brooches for this project. It’s probably a good idea to choose your embellishment before choosing the base colour, as you can tone accordingly. A feather or net veil is not to everyone’s taste so simply omit if you wish. Veiling can be found in any haberdashers but do get the best you can afford (as opposed to basic tulle), as you need only a small amount. Feathers are also available at your local haberdashery, though for this project I used an offcut from an old feather boa.” SKILL LEVEL: O MATERIALS: O fascinator base or cardboard/buckram O fat quarter or 0.25m of chosen fabric (or use a 25x20cm leftover piece) O fabric scraps cut in to 2” squares to make the folded detail O 1m of 1”-wide satin bias binding O 0.25m veiling O embellishments of your choice O needle & thread O hot-glue gun (optional)
HOW TO MAKE:
If you are making your own base use the template from the pattern sheet to cut your hat base from buckram or cardboard. Cut along the dashes, overlap as marked and glue (if you are using cardboard), or sew (sealing with an iron is also an option) if using buckram.
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Take your chosen base-covering material and use the template again to cut similar shape, allowing approximately 1” extra around the edge for the seam. If you are using a sinamay base, again cut your material about 1” wider all the way around. Pin this over your base, folding it underneath and pulling it taut on top as you go in preparation for sewing. (See Pic A.) Hand-sew or glue the material onto the underneath of the hat base. (Don’t worry if it doesn’t look neat at the moment, there will be a felt lining covering it and bias edging to neaten the look.) If you have used glue, leave it to dry while preparing later steps.
Pin tonal or contrasting 1” bias binding over the edge of the fascinator, stretching it slightly as you go so it doesn’t pucker, and hand-sew in place. Cut six 2” squares from the scrap fabric and fold each in half diagonally so opposite corners meet. (See Pic C.) Fold the bottom corner back on itself until it is halfway up the opposite side. (See Pic D.) Pinch under the central point to hold it in place and fold it back on itself. (See Pic E.) Pin to hold this while repeating the procedure on the opposite side. Press at this stage if you wish.
Cut out felt to line the fascinator – it needs to be slightly smaller than your original template or base, which will meet the edge of the bias. Hand-sew or glue this on the underneath of the hat base to cover any untidy edges. (See Pic B.)
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SPRING WEDDING FASCINATOR
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Hold both points in the centre while sewing through the front and back, catching the all layers a few times to secure at the centre of the point. The side points will spring back. (See pics F & G.) Repeat steps 6 to 8 a further five times until you have six completed ‘wings’ and assemble them in a circular arrangement. (See Pic H.) Cut out a circle slightly smaller than the assembled wings and sew each wing onto it with the point in the centre. (See pics I & J) When you have sewn all six in to place you can sew or glue your embellishment in the centre. (See Pic K.) If you wish to attach a feather to your fascinator, sew it on now so the end of it will lie underneath your finished flower. (See Pic L.)
If you wish to add netting, trim a piece measuring approximately 10” long and 6” wide, curving one of the 10” sides to create what will be the lower edge that will sit over the eyes. Use a gathering stitch along the opposite long side and pull to gather the veiling along one edge. Attach this to the top of the fascinator base. (See Pic M.) Attach the flower overlapping the feather and netting, hiding the stitches underneath. (See Pic N.) You can attach your fascinator to a headband giving it a fixed position or, for more flexibility, you can attach a hair comb underneath, as I did. You could also attach a length of shirring elastic between fixing the felt lining to the fascinator base, thereby sealing the end of the elastic out of sight under the lining. O
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Fabric Wonderland
Alice Garrett turned her passion for Liberty prints into a thriving business, giving up a career in science to sell the fabrics she loves. With a new sewing book to her name, she talks to Hugh Metcalf about her special relationship with the brand and why the new Liberty collection is its best one yet Interview: HUGH METCALF
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lice, a former scientific researcher, has a bit more of her favourite fabric at her fingertips at the helm of Alice Caroline, a specialist Liberty-print shop that sells online and at sewing shows up and down the country. It’s a business that has grown through Alice’s blossoming knowledge of these cult prints, sourcing a mixture of rare, classic and new-season prints that has seen her establish a close relationship with fabric archivists at the London department store. Her fabric choices are informed by her love of sewing too – she’s been making quilts and dresses from the prints for the last 10 years after all. Her first book, Little Lady Liberty: Over 20 simple sewing projects for little girls, is soon to be released, so we delved head first into a Liberty wonderland with Alice to talk prints old and new, tips and tricks for dressmaking and making the ultimate girl’s bedroom our inner-children can’t help but love.
As something of a Liberty expert, what do you think makes a timeless print? Around 95% of Liberty prints are timeless in my opinion. It’s amazing how the designs for the seasonal collections can be so varied, and yet instantly recognisable as Liberty – but perhaps I’m a bit of Liberty geek? Liberty is probably most strongly associated with the classic delicately drawn, small-scale florals, many of which were designed in the 1930s. These are regularly updated in new colourways to keep them current. Probably the most famous print is Ianthe, an art-noveau style print designed in 1900 that is still in print today. Do you have an all-time favourite print? That’s tricky as I love so many, but if I really had to choose then it would probably be Betsy, in the turquoise colourway. It’s so versatile as it goes with so many other prints. Or, wait, Mitsi, in the hot pink! Can I have two please? What’s it like to get to work with Liberty directly? It’s great. I enjoy going up to Liberty in London to see the new collections. It’s taken a long time to build up a relationship with them and I really value the support of those that I work with. We also now sell our kits in the Liberty of London store, which are proving very popular.
And there are a few other perks to your relationship aren’t there? You’ve got an exclusive colourway print in your shop too I remembered that Liberty had done a print featuring ponies, called My Little Pace, and I thought it would be such a gorgeous print for little girls but it was out of print. I went through the sample books with Liberty and we found it in the 2005 collection. I loved the print but wasn’t sure about the colours – I wanted it to be in pinks to match the fairground-carousel print that was in the same collection, so the Liberty Art Fabrics Design Team worked up a selection of pink colour schemes. After a few tweaks, swapping a few colours around, putting the stronger, darker pink on the manes and tails, we were ready to print. How did you feel about the Alice in Wonderland collection for 2015? I think it’s one of the strongest collections yet, a great theme: Alice in Wonderland contains so many gorgeous designs and features a wide range of prints from riotous, bold, colourful florals to delicate vintage-style florals and pretty conversational prints. Any favourites in there? I just love Gallymoggers Reynard, it features all of the characters from Alice in Wonderland – I
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ALICE GARRETT INTERVIEW
particularly like the biscuits that have EAT ME! written on them. For a dress, Rose Xanthe, which features big splashy red roses. In the book, Alice timidly asks “Would you tell me please, why you are painting those roses?” It is inspired by a print impression of a floral spray in a 19th-century book in the Liberty archive. The design is hand-drawn and painted in repeat using roses from David Austen Roses. Patsy, designed by Lauren Child of Charlie and Lola fame is another garden-inspired beauty, and Suzy Elizabeth is a fun afternoon-tea themed print – very British!
Do you have any favourite dressmaking patterns you use with your fabrics?
The projects in your book are so gorgeous – are there any little ladies out there who inspired them? Each project is named after girls I know – my daughter’s friends and cousins
Liberty fabric behaves so well, it is a joy to sew with. I think with heavily patterned fabric, go with the print you are instinctively drawn to. If you want to co-ordinate other fabric with it, pick your favourite colours out from it and choose smaller-scale prints in those colours to go with it. O
and I chose projects I thought they would each most like. For example Lilly loves ponies, so I named the duvet set after her.
How much time do you get to sew for pleasure versus work?
Time available for sewing for pleasure varies according to how busy things are! I mostly want to make clothes for me and my kids, or quilts for them. Sophie is asking when she can have the Sophie quilt from the book on her bed.
I generally use New Look by Simplicity patterns as they are usually speedy to make and work out well, 6022 being a favourite for a quick summer shift dress. It works fabulously well in Liberty fabric. I used to make more technically challenging patterns from Vogue back in the days of student balls. At the moment I’m enjoying experimenting with combining Liberty with heavier winter-weight fabric using Colette’s Laurel dress pattern.
What are your top tips for working with Liberty prints?
Alice will be exhibiting at the Festival of Quilts in August, and will appear on Create
and Craft TV and at literature festivals this year. Little Lady Liberty: Over 20 simple sewing projects for little girls – is out in March. To buy a copy of the book and stock up your stash of Liberty prints, head to www.alicecaroline.co.uk. Turn to page 46 for Alice's Mia doll project
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Top tip
You will only need to use a lining for the skirts if the fabric you have chosen is very sheer
Mia Liberty dress doll
Mia is a special doll with a serious and a fun side – and a dress to match each mood. Just flip her over and she’ll reveal her other self! Project: ALICE CAROLINE
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MIA LIBERTY DRESS DOLL
Alice says:
“Little ones will love discovering that Mia has a serious side and a fun side. Sometimes she is a Little Lady, like a rose garden, proper and just so... but flip her over and she becomes a Wild Flower, like a wild garden, letting her hair down and running free! I wanted the two different fabrics of the dresses to reflect the two different sides to Mia’s personality. For Little Lady I chose a delicate rose print, cultivated and tidy, to show Mia’s dressed-up and smart side. For Wild Flower I chose a more rambling print with the essence of a wild garden or meadow to reflect the free-spirit side of Mia, running with her hair down through a meadow.”
MATERIALS: Makes a 40cm tall doll O free template sheet O 46x40.5cm plain fabric for body O 2 23x30cm pieces felt for hair & eyes O 2 different 38x67.5cm pieces fabric for dresses O toy stuffing O 25x67.5cm lining fabric (optional) For Little Lady’s dress: O two 11.5cm pieces 2.5cm-wide lace O 10cm scalloped-edge lace For Wild Flower’s dress: O two 4x11.5cm pieces accent fabric or satin ribbon
HOW TO MAKE: BODIES & DRESS TOPS Pin the template to the doll body fabric and draw around it. Unpin the pattern and flip it around, aligning the bottom of the pattern with the bottom of the drawn line, then pin and draw around again. Repeat with the other doll body fabric piece. Don’t cut the doll shape out.
Take one of the doll body pieces, turn it over and hold it up to a window so you can see the doll outline. Trace the doll body outline onto the other side so you have the doll outline exactly aligned on both sides of the fabric. You will be using the line on this side to align the clothes, face and hair. (You will use the line marked on the other side to follow later when you stitch the doll body pieces together.) Prepare the dress tops. Fold over 5mm to the wrong side at the cuffs of the sleeves and neckline of the four dress top pieces. Press. Position Little Lady’s dress top on one doll body (the top will overhang the doll outline by about 5mm at the sleeves and sides). Stitch in place at the cuffs close to the fold you made earlier and around the neck, following the curve of the folded neckline. Position Wild Flower’s dress top at the opposite end of the doll and stitch in place. Repeat with the other doll body.
Note: All edge stitching and stitching close to the edge or fold is at 2mm from the edge unless otherwise stated. CUTTING LIST: For the body, cut: O two 46cm squares of plain fabric For the skirts, cut: O 27x67.5cm piece from each of the dress fabrics For the dress top, cut: O two pattern pieces from each of the dress fabrics For the hair, cut: O two back-of-head pattern pieces, one Little Lady hair-front pattern piece and one bun pattern piece, one Wild Flower hair-front pattern piece and four bunches pattern pieces For the eyes, cut: O four eye pattern pieces
Align the 2.5cm-wide lace with the bottom of Little Lady’s dress top and stitch in place along both long edges of the lace. Repeat on the other doll body. Align the scalloped lace with the neckline and stitch in place along both long edges. This is now the front side of your doll.
HAIR & FACES On the front of the doll, position Little Lady’s front hair. The hair felt will overhang the doll outline by 5mm (¼") around the sides of the head. Stitch along the fringe edge with co-ordinating thread, close to the edge. Sew a few stitches at the top of the head to hold the hair in place. Repeat with Wild Flower’s hair at the opposite end of the doll. Tape the face pattern piece to a window and hold your doll’s front over it. Trace the eyes and mouth with a sharp pencil. Position the felt eyes, hold in position with a dab of washable glue and sew in place. Stitch the lashes and mouth. I used a sewing machine but you can hand-sew using backstitches. Repeat for Wild Flower.
On the back of the doll, place the back of the hair on Little Lady’s head, with a 0.5cm overhang around the sides and top of the head. Stitch close to the edge at the nape of the neck. Sew a few stitches at the top of the head. Repeat at the opposite end of the doll for Wild Flower. For Little Lady’s bun, sew a gather stitch (a long running stitch) 0.5cm from the edge of the bun fabric piece, leaving long threads. Pull the thread ends up to gather the bun and knot them together. Stuff a small piece of toy stuffing into the bun and tuck the edges inside. Stitch in place on the back of Little Lady’s head.
Fold over 5mm on one edge of both pieces of Wild Flower’s accent fabric. Position and stitch in place as you did before. Repeat on the back of the doll.
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LIBERTY DRESS DOLL MIA For Wild Flower’s pigtails, stack two of the bunches fabric pieces and stitch them together, using co-ordinating thread, close to the edge. Repeat to make a second pigtail with the other two bunches pieces.
Top tip
Trim your threads close to the fabric so that the thread ends don’t show through on the right side of the face
Position the pigtails at the base of the back of Wild Flower’s head. Stitch them in place close to the edge of the head, with the tips of the pigtails flipped in towards the centre of the head.
STUFFING THE DOLLS & ADDING THE SKIRTS Place the front and back of the body RST, and align them carefully. Pin them together and stitch along the outline. Leave a 5cm gap at one side. Be sure to backstitch to secure your stitches at the beginning and end. Cut out around the doll outline to leave a seam allowance of 0.5cm. Clip the curves. Turn the body RS out through the gap.
Stuff the dolls using small clumps of stuffing. Push the stuffing into the arms using the end of a pencil. Keep adding more clumps, creating the shape as you go. This process takes longer and more stuffing than you might expect! You are aiming for a firm feel. Slip-stitch the gap closed. Prepare Little Lady’s skirt. If you are using a lining, align this with the WS of your dress. This will now be treated as one skirt piece. Finish the top edge of the skirt with zigzag stitches.
With RST, form a skirt loop, stitching the edges together with a 1cm seam. Finish the seam and press to one side. This is the back seam of the skirt.
Pull the skirt over Little Lady’s head, RST. Pull up the gathering stitches until the skirt fits the doll snugly. Ease the gathers along the stitches until they are even. Tie the threads together. Align the top finished edge of the skirt with the bottom of the lace (at the middle of the doll) and stitch in place along your gathering stitches. Using a thimble will make this more comfortable to do.
Pull the skirt over the Little Lady’s head, RST. Pull-up the gathering stitches until the skirt fits the doll snugly. Ease the gathers along the stitches until they are even. Tie the threads together. Align the top finished edge of the skirt with the bottom of the lace (at the middle of the doll) and stitch in place along the gathering stitches. Using a thimble will make this more comfortable to do. Repeat with Wild Flower’s skirt. Slip-stitch or ladder-stitch the bottom edges of the skirts together. O
Hem the bottom edge of the skirt by folding up 1.25cm and pressing. Fold another 2.5cm over and press again. Stitch all around the hem, close to the fold. Gather the top edge of the skirt. Starting at the back seam, 0.5cm from the top finished edge, tack (baste) gathering stitches – by hand or by adjusting your sewing machine stitch length to 4.5 or 5 – all around the top edge of skirt.
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Come and see an Aladdin’s Cave of fabrics, ribbons, buttons and haberdashery!
Open Monday to Saturday 9.30 - 4pm
A sewing & craft cafe in West London
Coach parties welcome, workshops also available please ring 01482 843663 for details.
Fabrics & Haberdashery v Classes & Clubs v Coffee & Cake
www.badgerandearl.com 14A Sutton Court Road Chiswick London W4 4NG 020 8994 0205
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EASTER BUNNYGARLAND
Use your free template
Easter Bunny
garland
This great scrap-busting project will add a touch of adorable to your Easter decorations. Just add pompoms! Project: KELLIE ROSE, Plush Addict
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EASTER BUNNY GARLAND
SKILL LEVEL: OO MATERIALS: O free template sheet O 1 fat quarter fabric to make 10 bunnies (f you use fabric scraps you can get a lovely mix of patterns. Each bunny will need 20x12cm of fabric) O 50cm premium calico (premium is best to give your garland more structure without interfacing) O 50cm 5mm-wide ribbon for the hanging loops O packet 10mm jute ribbon O Vilene Bondaweb O 1 packet white ½” pompoms O co-coordinating thread O small scissors
HOW TO MAKE:
Trace around the bunny template on to the smooth side of the Bondaweb using a pencil. Cut around the shape close to, but not on, your pencil line. (See Pic A.) Iron the Bondaweb bunny shape onto the reverse of the fabric. It should adhere quite strongly. (See Pic B.) Cut around your shape on the pencil line. (See Pic C.) Score the Bondaweb paper with a pin and remove the backing paper. Cut a 5cm length of ribbon and fold in half.
Lay your cutout bunny shape onto the backing calico. (See Pic D.) Place the ribbon between the bunny’s ears and enclose the raw ends underneath the bunny shape. Leave at least 1cm of the folded ribbon exposed to form the hanging loop. Press to adhere the shape onto the calico, enclosing the ribbon loop. Trim the calico to match the bunny shape, taking care not to cut the ribbon hanging loop. Small scissors will help you to be more precise around the curves. (See Pic E.) Using a zigzag stitch on your sewing machine, sew around the edge of the shape
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EASTER BUNNY GARLAND
A
B
C
D
E
F
Why not... Use your bunny template for appliqué projects for clothes, bags and cushions?
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with the outside of the zigzag right on the edge of the shape. Take care on the curves and sew slowly. (See Pic F.) To add the tail, thread a hand-sewing needle and tie a knot in the end of the thread. Pass the needle though the centre of a pompom. Secure the tail onto the bunny shape with a few stitches. You can use the template as a tail placement guide by lining up the shape with the template, putting the needle through the template, lifting the template and marking where the needle is using a fabric marker. This is your tail placement mark. Repeat for as many bunnies you’d like on your garland. (See pics G & H.)
H
Wrap a small length of tape around the end of the jute ribbon and thread it through the loops. You’re done – Happy Easter!
To p tip
All materia ls used here ar e available fr om plushaddic t.co.uk
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Ideal Mother's Day make
Project caddy
free templates
With pockets for your notions and plenty of space for fabric, this caddy is a great bit of kit for ongoing projects Project: KATE HAXELL Photography: JOANNA HENDERSON Illustrations: CARRIE HILL
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PROJECT CADDY
SKILL LEVEL: OO MATERIALS: O free template sheet O 48x30cm piece sturdy outer fabric (Kate used ticking) O 28x15cm piece sturdy outer fabric (Kate used ticking) O 2 48x30cm pieces lining fabric (Kate used quilting cotton) O 28x15cm piece sturdy lining fabric (Kate used heavy cotton) O 2 48x15cm pieces medium-weight pocket fabric (Kate used quilting cotton) O 2 48cm squares of 2.5cm-wide bias binding O paper for templates O paper scissors O fabric scissors O tape measure O iron O pins O masking tape (optional) O sewing thread to match fabrics O sewing machine O hand-sewing needle
binding will vary depending on how it was folded originally, but you need to pin it so that, when the binding is folded over the raw edge of the pocket, the pressed halfway fold runs along the top edge. Sew the binding in place, sewing along the original first fold.
Fold the binding over the raw edge of the pocket to the back. The folded edge should just overlap the line of stitching made in Step 2. On the RS, stitch in the ditch – that is, sew along the seamline between the binding and the fabric – to complete the binding. The stitching should just catch the free folded edge of the binding on the back.
Divide the pockets into smaller sections with lines of sewing. Make them whatever sizes suit you and the projects you are going to use the bag for. You can use masking tape to mark out the lines. Stitch from the bottom to the top of the pocket. At the top of the pocket, take the threads through to the back and knot them very firmly. Repeat steps 4 and 5 with the other side piece and pocket piece.
Pin the side pieces RST, matching the pocket tops carefully. Taking a 1cm seam allowance, sew the side seams. Press the seam allowances open.
HOW TO MAKE:
Cut out one base piece and two side pieces from the outer fabric. I had the stripe on my ticking running in different directions on each side piece. Cut two sides from lining fabric and one base piece from sturdy lining. Cut two pockets from the medium-weight fabric. Press the bias binding in half lengthwise, but not exactly in half – have one edge 2-3mm above the other. Unfold the narrow half completely and, right sides together, pin the raw edge of the binding to the top edge of one pocket. The position of the edge of the
Lay a pocket piece RS up on the RS of a side piece, matching the raw edges. Set the sewing machine to a narrow zigzag and sew the layers together around the raw edges.
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PROJECT CADDY RST, pin and then baste (tack) the base into the bag, easing it to fit around the curves. Taking a 1cm seam allowance, sew the seam. Turn the bag RS out and press the seam allowances upwards towards the sides of the bag.
Put the bag, RS out, into the inside-out lining, matching the top raw edges. Sew around the edges, making one of the handles a tiny bit narrower than the other. Leave the short straight ends of both handles open.
Make up the lining following steps 6-7, but leave an 8cm gap in one side of the base. Leaving the lining out.
Turn the bag RS out through the gap in the lining, then ladder-stitch the gap closed. Turn in 1cm of the end of the wider handle and press the fold. Tuck 1cm of the narrower handle inside the wider one and pin them together. Ladder-stitch the ends together, stitching the outer layers, then the lining.
Sew-licious Little Things by Kate Haxell, published £14.99 by CICO Books, £14.99. Love Sewing readers can purchase a copy at the special price of £10.99 including free P&P by calling 01256 302699 and quoting GLR CODE CP2. For more information, please visit www.cicobooks.co.uk
WIN A SELECTION OF BERISFORDS CELEBRATION RIBBONS
Love Sewing has teamed up with Berisfords to give away five sets of ribbon from its gorgeous new spring collection. Choose from sheers, jaquards, satins, grosgrain and many more styles to personalise wedding gifts, create table centerpieces and decorate bouquets. Use it to tie bows and make streamers for cards, balloons and invitations. Available in whites, pastels, pretty prints and dainty dots, as well as various glittery and shimmery effects. Berisfords has introduced a number of new designs to its Natural Charms collection, including: On Your Wedding Day, Congratulations, On Your Anniversary and Thank You, all in 15mm widths on a cream background. In addition, All My Love is available in three colours – red, cream and grey. Prices are priced at 70p per metre, depending on design, width and roll size. For stockist information, contact Berisfords by emailing
[email protected] or call 01453 883581. Visit www.berisfords-ribbons.co.uk. For a chance to win one of five sets of ribbons, simply visit www.ppjump.com/lovesewing11
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Use your free template
30-Minute Sewing by Heather Lowe, published by Search Press, £9.99, www.searchpress.com
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EASTER BUNNY
Easter
bunny
This handsome little rabbit is easy to construct and can be made in under an hour. Use your favourite fabric for the inner ears to make it really special Project: HEATHER LOWE Project Photography: SUSSIE BELL SKILL LEVEL: O MATERIALS: O free template sheet O 0.3m main colour fabric O 0.25m contrasting colour fabric O co-ordinating thread O embroidery thread O wool or bamboo stuffing O 2 1.25cm buttons O yarn for pompom O craft & fabric scissors O pompom maker (optional)
HOW TO MAKE:
Cut out pattern pieces on your free template sheet. For quicker layout and cutting, fold fabric in half then trace the pattern pieces and cut through both layers. From the main-colour fabric, you will need a total of four arm panels (makes two arms), two body panels, one back head panel, two ear panels and one of each of the three face panels. Cut two more ear panels from the contrasting colour fabric. First, make the ears. With RS facing, align the main and contrasting panels. Pin and then stitch them together around outer edge, leaving the straight edge at bottom open. Turn the ears right side out and press the seams flat. Fold each ear in half with the contrasting fabric on the inside and baste along the straight edge to maintain the fold. (See Pic A.) Pin and stitch the three face panels together in order. (See Pic B.) Pin the ears to right side of the assembled face panel so that the unfinished edges are at the top edge of the head, aligning the folds of the right and left ears with the right and left face seams. (See Pic C.)
Baste the ears in place along the edge, inside the 6mm seam allowance. Fold the ears over at the bottom front of the work and pin together to keep them from being accidentally stitched into the seams in the next step. Place the back head panel on top of the assembled face panel, so that RS are facing and outer edges are aligned. Stitch around the outer edge, leaving the opening at the neck edge where ears protrude to turn work. (See Pic D.) Turn work right side out and embroider the facial features. I used a satin stitch to create a triangle nose and French knots for eyes. With RS facing, stitch the body panels together, leaving a 2” (5-cm) opening at the top. Notch the curves, especially around the seams at the underarms and between the legs. Turn work right side out. Stuff the body to desired firmness and stitch the opening closed. Repeat this process for each of the two arm pieces, seaming the arm openings once stuffed. Attach the head to the top of the body and hand-stitch into place using blind stitches. Pin the arms in place on either side of the body. Place a button on top of the arm piece at the shoulder and stitch through the button and arm into main body, securing tightly with several stitches; tie a knot in your thread and pull it to the inside before cutting. Repeat this process to attach the other arm to the other side of the body.
A
B
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D
Make a small pompom and stitch it to the backside. Tie a length of ribbon at the neck if desired. O
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Fine Fabrics of Harrogate 28 Regent Parade Harrogate HG1 5AZ 01423 530409 • Traditional fabric shop in Harrogate. • Extensive range of high-quality dress fabrics and knitting wools. • Friendly and efficient mail order service available. • Weekly sewing classes for all abilities.
www.finefabricsofharrogate.co.uk
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THE MAKERY’S TOOL APRON
Win a Janome 525S Get your hands on a new machine, as seen on The Great British Sewing Bee!
Worth
£249!
If you’re ever lucky enough to find yourself in The Great British Sewing Bee studio, you’d notice that not only is it well equipped with a fabulous fabric stash, haberdashery and dress forms, but also Janome sewing machines. The 525S is the model of choice, as it’s perfect for sewists of every level – offering a well-balanced range of stitches that make it ideal for coping with everyday sewing tasks. Stitch selection is by dial – just choose the letter that matches the stitch and start sewing – while the automatic buttonhole produces perfect buttonholes in one easy step and the automatic needle threader takes the strain out of fiddly threading. Plus there’s plenty of accessory storage and a hard cover for protection. If you’re looking for an upgrade from a basic model, here’s your perfect opportunity. Simply enter our competition for your chance to win a Joanome 525S worth £249!
To enter, visit www.ppjump.com/lovesewing11 By entering this competition you accept that your details may be passed on to a third party. Competition open to UK entrants only. Closing date 2nd April, 2015
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THE MAKERY’S TOOL APRON
The Makery’s
Tool apron
For a practical Mother’s Day gift, whip up this handy belt to store gardening tools or sewing and craft essentials Project: KATE SMITH
Top tip
If you’re unsure what size to make your po ckets, lay out some of the objects you think you m ight like the apron to hold along the fabric so that you can mark the po ckets accordingly
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THE MAKERY’S TOOL APRON
A
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Kate says
“This project started life as a gardening apron – a handy place to keep tools while you’re digging, planting and pruning. Then I realised that actually it could serve as an apron for any purpose. Whether you need it to keep your spoons and whisks at the ready in the kitchen or for your tape measure, scissors and threads in your craft studio, this tool apron will do the job. You can choose the size of the pockets to fit your tools – simply sew the pocket seams at appropriate intervals and hey presto, you have a functional but classy little number” SKILL LEVEL: OO MATERIALS: O 50x60cm heavyweight cotton or linen O 2m 2.5cm-wide bias binding O co-ordinating polyester thread O 1.5m 4cm-wide cotton ribbon or tape O tape measure O iron O tailor’s chalk or fabric pen O fabric scissors
stitching line, to the other side. Pin in place so that the folded edge of the bias binding lies beyond the line of stitching. On the RS of the fabric, sew down the ditch, ensuring that you catch the bias on the back in the line of stitching. (See Pic B.) Lay the piece of fabric you’ve been working with out in front of you (WS facing up) and fold up the bottom by 18cm to create the pocket band. Pin and iron in place Decide how many pockets you’d like and how big you’d like them to be. When you have decided, mark the vertical lines on the folded fabric using tailor’s chalk or a fabric pen and stitch a straight line from the bottom (the folded edge) up to the top (where the bias binding is). Reverse-stitch at the beginning and end of each line to secure your stitching. To add the bias down the sides of the apron, repeat steps 1, 2 and 3 for each side edge. This time, add 1cm extra bias binding to the bottom and fold up and create a neat
C
edge (don’t worry about neatening the top as this will get tucked into the waistband). Make the waistband. Fold the ribbon or tape in half to find the centre and mark the spot with a pin. Fold the ribbon or tape in half lengthways to create a long ‘V’-shaped channel to slot the apron into. Find the centre of the apron fabric. Match this point to the centre of the ribbon or tape, slotting the apron fabric into the ‘V’ shape. Pin in place. To create a finishing touch, take the remaining bias binding and turn the short edges under so that it is the same width as your apron, then tuck this up into the apron band so that half of it is poking out, unpinning the waistband and re-pinning as you go. Sew all the way along the ribbon or tape, keeping the stitching about 0.5cm up from the bottom of the tape. Reverse-stitch at the beginning and end to secure. O
HOW TO MAKE:
Cut a length of bias binding to 60cm. Open it up and place it at the bottom 60cm edge of the fabric with RS facing, lining up the raw edges. Pin the bias binding in place. Machine-stitch in place along the fold line of the bias binding. Reverse-stitch at the beginning and end to secure your stitches. Trim back the raw edge of this seam to 0.5cm – this will make the next step easier. (See Pic A.) Fold over the 1cm of extra bias binding at each short end, WS together. Fold the long edge of the bias binding over the raw edges and your
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Bunny
tote bag
With a few fun touches, you can turn a plain canvas bag into a cute spring accessory Project: JENÉ SIGL, Wear The Canvas
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BUNNY TOTE BAG
A
B
C
D
E
F
G
H
Jené says:
“My idea for a bunny tote bag probably has something to do with me wanting a rabbit! Seeing as spring and Easter are almost here, I decided to finally make it. I am so happy I did, because it's pretty much the perfect accessory for spring!” SKILL LEVEL: O MATERIALS: O plain tote bag O embroidery thread O embroidery needle O yarn O pompom maker O pencil O ruler O scissors O muslin O iron-on fusible interfacing
HOW TO MAKE:
Lay out your tote bag and draw on the bunny face using a pencil and ruler. (See Pic A.) Use an embroidery needle and embroidery thread to stitch on the bunny face. (See Pic B.)
Flip the tote bag inside out. Cut a piece of fusible interfacing slightly larger than the embroidered area and then iron it on according to the manufacturer’s instructions. Once the interfacing has cooled, flip the bag RS out. (See Pic C.) Use a pompom maker to make a pompom for the nose. Sew the pompom on the bag where you marked your nose placement. (See Pic D.) Cut four long bunny-ear shapes from muslin fabric and two from interfacing. Iron on the interfacing to two of the muslin ear pieces. (See Pic E.) Take two ear pieces, one with interfacing and one without, and place them RST. Sew the edge, using a ½” seam allowance. Notch and trim the excess seam allowance.
Flip RS out and press flat. Press ½” of the top edge to the inside. Repeat with the other ear. (See Pic F.) Sew the open edge closed. Create a pleat to form an ear shape, pin and then sew down the pleat. Repeat with the other ear. (See Pic G.) Sew one ear on each side of the tote. (See Pic H.) O
Top tip
For more quick, crafty tutorials, see iwearthecanvas. blogspot.co.uk
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POP-UP PUPPET THEATRE
ur Use yo e fre tes m te pla
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PUPPET THEATRE POP-UP
Pop-up
puppet theatre
Brighten up rainy playdays by whipping up this fabulous curtain panel that turns a doorway into an instant portable puppet theatre Project VICTORIA PEAT, Little Black Duck
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SKILL LEVEL: O MATERIALS: O free template sheet O 170cm/67” fabric for main panel O 60cm/23” fabric for scalloped pelmet O 60cm/24” fabric for curtains O 2m 23mm/1”-wide grosgrain ribbon, cut into the following lengths: O 2 17” pieces O 2 21” pieces O 1m 7mm-wide ribbon, cut into 2 lengths O 72cm/28½” bamboo or narrow dowel O extendible tension curtain rod that extends to at least 75cm/30” O cardstock for templates O fabric-marking pen NOTES: Choose 110cm/44”-wide lightweight/quilting cotton for best results. Fits a 75cm wide standard doorway.
HOW TO MAKE:
SCALLOPED PELMET Cut a rectangle 30x20”. With RST, fold up a 6” hem along one long edge with RS facing. Copy the scallop template onto cardstock. Starting ½” from the outside edge, place the template with the upper edge level with the raw edge of the 6” hem. Trace around the outside edge of the template with a fabricmarking pen. Use the template to trace four more scallops, matching up the straight sides of the template. You should have ½” seam
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allowance left once all of the scallops have been marked. (See Pic A.) Pin the two layers of fabric together. Sew along the lower outside edges of the marked scallops. At the inner points of the scallops, lift the presser foot and pivot the fabric to make a nice point. (See Pic B.) Trim seam allowances around scallops to about ⅛” and very carefully snip into the inner points of the scallops. (See Pic C.)
From the RS, top-stitch around the pressed edges, leaving the top edge unstitched.
Turn the scallops through to the RS and push them out with a point turner (or a chopstick). Take care to push out nicely and press into place.
CURTAINS Turn under a double ½” seam allowance on all outside edges. Sew in place ¼” from the pressed edge. Sew gathering stitches along the top edge of the curtains. Gather to 9” wide.
On the WS, press in the remaining ½” seam allowances on the top section of the pelmet. Fold this seam allowance in half to create a narrow ¼” enclosed hem.
MAIN PANEL From the main fabric, cut a rectangle and window, snipping into the corners of the window (See pics D and E).
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POP-UP PUPPET THEATRE
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Press the 1” seam allowance on the window opening to the WS. Turn in half of the seam allowance to enclose the raw edges. Baste in place. (See Pic F). Turn in a ½” double seam allowance down each of the long sides. Stitch in place. Turn up a 1” double hem on the lower edge. Stitch in place ¾” from the folded edge. SUPPORT CHANNEL From the main fabric, cut a 29x3½” rectangle. Turn in a ½” hem on each short edge and stitch in place. Fold in half lengthways with WS facing. Sew ¼” from the raw edge and finish with a zigzag stitch or pinking shears. Position the channel on the WS of the main panel so that the stitching on the channel is ½” down from the bottom of the window opening. Stitch in place along the previous row of stitches all the way across the width of the main fabric. (See Pic G.)
CURTAIN TIEBACKS Take one piece of the 7mm ribbon and fold in half. Place the fold of the ribbon on the edge of the window opening half way down, about ¼” in from the folded edge. Baste in place. Repeat with the second length of ribbon. (See Pic H.) ATTACHING THE CURTAINS Position the curtains on the WS of the main panel so that they meet in the middle of the window opening. The gathered edge should sit approximately 2½” above the window opening. Baste in place along the top edge.
Sew along the inner and outer edges of the ribbon, all the way around the window. SEWING THE TOP CHANNEL Lay the scalloped pelmet on top of the main panel and baste together along the top edge. Turn under a ½” hem and press. Turn under a 2” hem and sew in place 1¾” from the folded edge.
FRAMING THE WINDOW Take one of the shorter pieces of ribbon and pin so that the edge of the ribbon is flush with the window opening. It will extend 1” longer than the window opening at the top and bottom. Repeat with the other side of the window. Take one of the longer pieces of grosgrain ribbon and pin so that the edge of the ribbon is flush with the window opening. The ribbon will extend 1¼” longer than the window opening to the left and right. Tuck the excess under the ribbon you pinned in place for the window sides.
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PUPPET THEATRE POP-UP
THREE LITTLE PIG PUPPETS SKILL LEVEL: O MATERIALS: O free template sheet O freezer paper O light pink, dark pink, dark blue, red, light grey, dark grey, light green, dark green, black, light brown, mid brown, dark brown, white & yellow felt O light pink, dark pink, red, light green, dark green, dark blue, light grey, dark grey, white, black, yellow, light brown & dark brown embroidery thread
HOW TO MAKE:
Trace all the pattern pieces onto the matt side of the freezer paper and roughly cut out (about 1/4” from the pattern line). Iron the glossy side of the freezer paper onto felt using a low heat. Cut along the pattern lines for nice, neat pattern pieces. The pigs (make 3): On the front body piece, sew the snout in place using two long straight stitches. Sew two large crosses for the eyes. Sew the overalls in place with a series of short straight stitches around the outside edges and along the straps. Make the tail into a spiral shape by cutting along the dotted line. Sew it onto back body using a large cross in the centre of the tail. Sew the front to the back body using a series of straight stitches around the outside edges. The wolf: Sew the hair onto the face using a few long stitches. Sew the whites of the eyes onto the face with a few stitches around the outside edges and sew the black pupils in place in the same manner. Position the nose on the face and affix using a few stitches around the outside edges. Use three long stitches to form the mouth. Sew the tummy to the front body with a few straight stitches. Sew the tail in place on the back body with two cross stitches at the base. Sew the front body and the face to the back body using a
series of straight stitches around the outside edges. House made of straw: Use long straight stitches to sew horizontal and vertical lines on the house front and roof to look like straw. Sew the base of the roof to the top of the house front using a row of small straight stitches. Sew the house front and back together using whip stitch around the outside edges. House made of sticks:1 Sew the door onto the house front using straight stitches around the outside edges and make a French knot for the door handle. Using backstitch, sew six horizontal lines on the house front and position the roof on top of the house front. Using backstitch, sew vertical lines on the roof, catching the top of the front of the house as you go. Whip-stitch the front to the back of the house around the outside edges. House made of bricks. Use a series of straight stitches to sew the two chimney pieces together around the outside edges. Sew horizontal and vertical lines using long straight stitches on the house front to look like bricks. Sew the base of the roof to the top of the house front using a row of small straight stitches. Sew the house front to the house back using a series of straight stitches around the outside edges, catching the chimney as you go. O
FELT REQUIREMENTS COLOUR
SIZE
LIGHT PINK
7 x 6"
DARK PINK
3 x 1 ½"
LIGHT GREY
4 x 3"
DARK GREY
6 x 4"
BLACK
1 x 1"
WHITE
1 x 1"
YELLOW
7 x 5 ½"
DARK BLUE
2 ½ x 1 ½"
RED
2 ½ x 1 ½"
DARK GREEN
2 ½ x 1 ½"
LIGHT GREEN
2 x 2 ½"
LIGHT BROWN
1 ½ x 4"
MID BROWN
3 ½ x 3 ½"
DARK BROWN
7 x 7"
Save 25% on felt from LovePaperFish Love Sewing readers can save 25% on felt at www.fuzzyfish.etsy.com. To claim your discount, enter the code PIGGY25 at the checkout The offer covers 25% of the total product value (excluding postage) and is open until 26th March, 2015. For more details on lovepaperfish, visit lovepaperfish.blogspot.com
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UPCYCLED DENIM BAG
Upcycled denim bag
Use your free template
We love this stash-busting bag and it has the added bonus of being reversible. It’s made from a recycled chambray dress lined with a lush Liberty-print needle cord Project: AMANDA RUSSELL & JULIET BAWDEN, R&B Designs Project Photography: ANTONIA ATTWOOD
Ideal Mother's Day make
We used... Liberty Rossmore cord Ianthe, £16.95 per metre, www.sewbox.co.uk
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DENIM BAG
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SKILL LEVEL: O MATERIALS: O free template sheet O dress made from chambray fabric to recycle for bag exterior O 1m Liberty-print needle cord for lining O tracing paper O iron
HOW TO MAKE: MAKING THE STAR POINTS
Take the dress apart by cutting along the seams. Iron the fabric pieces, then check the pattern fits. At this point you can adapt the pattern to fit your fabric by making the bag shorter or narrower, depending on the amount of fabric you have. Cut out the bag pieces, two for the outside and two for the lining. (See Pic A.)
To make the outside and the lining bags, put right sides together, then pin the sides and base and sew using a sewing machine. (See Pic B.)
Take one of the handles and start to turn the bag through it. It can be quite stiff – be patient as you turn the bag to ease the fabric through. (See Pic F.)
Press the seams open. (See Pic C.)
Just as it gets very stiff and you are ready to give up, the bag will pop through. With the bag turned RS out, pull the other handles through. Press along all the edges.
To make the base, press the base seam and side seam together to form a triangle, then measure and pin at the point where the base of the triangle is 7cm wide. Sew using a sewing machine, repeating on the remaining three corners. Cut off the surplus triangle of fabric at each corner. (See Pic D.) Place the lining bag in the outside bag and pin along the curved edges. Use the sewing machine to sew along the curved top edges twice. Leave the top 8cm open on the handle pieces. Cut notches on the curved seams. (See Pic E.)
Pin and sew the outside handles together, then the lining ones. Press the seams open. Pin and sew the side seams on the handles together, then press. On the open edge, turn in the fabric the pin the open edge together. Slip-stitch closed. Use the sewing machine to top-stitch around the top edges of the bag to finish. O
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VINTAGE QUILTED RUNNER
Vintage
Quilted runner Mix and match your favourite fabrics to create a pretty patchwork runner with a flowery quilted finish Project: DEBBIE VON GRABLER-CROZIER
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RUNNER VINTAGE QUILTED
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The fab r project ic used in this is avail able fr www.c om o Sundry ttonpatch.co .uk items a re avail from fr able om eB ay and good c raft sto res nation wide
SKILL LEVEL: O MATERIALS: O 12 17cm-square pieces modern fabric (they do not have to co-ordinate) O 1 fat quarter white-on-white fabric O 95x35cm thin wadding O 95x35cm backing fabric O water-soluble marker
Place the wadding onto a flat surface with the trimmed top piece over the top. Pin well. Outline-quilt the top.
Place a small white square, RST into three of the corners on the large square. (See Pic A.)
Trim the wadding to the same size as the top and place the two right sides together with the backing fabric. Machine-sew around the perimeter of the runner, leaving a gap for turning out. Trim, clip across the corners, turn out through the gap and then slip-stitch closed. Top-stitch around the edge of the runner about 0.5cm in from the edge.
Sew along the blue lines. (See Pic B.)
HOW TO MAKE:
From the coloured fabric, cut 12 17cm squares. From the white-on-white fabric, cut 36 4.5cm squares.
Trim 0.5cm from the lines. (See Pic C.) Fold the white squares (now triangles) down and press. (See Pic D.) You will you have one corner triangle free. This becomes the centre of the flower. When you have four pieces, carefully match up the triangles and sew the block together. Repeat for the other two blocks, sew them together and trim.
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Each floral square will have three smaller white squares attached to it and these smaller squares will be clipped across the corner to make triangles. Cut a floral 17cm square and three white 4.5cm squares.
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You can quilt by hand or machine. Your choice!
Use the line drawing to make a template of the flower motif from thin cardboard (a cereal packet is ideal). Make a separate circle for the centre. Use the water-soluble marker to draw around this flower in the centre of each of the floral squares. Quilt, this time going through all three layers, including the backing. Remove the water-soluble marker lines with water. O
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Cute Hoot
owl hat
free templates
Made with soft wool felt, this fun, cosy hat features an appliquéd face, button eyes and ‘feather’ tassels. Keeping little ears toasty, it stays in place with an adjustable chinstrap Project: MOLLY GOODALL
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CUTE HOOT OWL HAT HOW TO MAKE:
SKILL LEVEL: OO YOU WILL NEED: O pattern template downloads (S,M,L) O 45cm pink wool felt (for outer hood) O 11cm peach wool felt (for strap, binding, tassels & eye bases) O 12.5cm yellow wool felt (for the beak & eyelashes) O 25x12.5cm green wool felt (for outer eye bases) O 20x10cm blue wool felt (for eye centres) O 45cm cotton print fabric (for lining) O 45cm fusible fleece interfacing O face template (for reference when placing features) O 2 2.5cm-diameter buttons for eyes O 5cm Velcro O thread to match all colours of wool felt O fabric glue CUTTING LIST: From the pink felt, cut: O two hat sides O one hat centre From the fusible fleece, cut: O two hat sides O one hat centre From the lining, cut: O two hat sides O one hat centre From the peach felt, cut: O one chin strap O one binding O two eye circles O 10 tassel strips From the yellow felt, cut: O one beak O two eyelashes From the blue felt, cut: O two eye centres From the green felt, cut: O two outer eye bases
Following the manufacturer’s instructions, iron the fusible fleece to the WS of the hat sides and centre. With RST, sew the hat sides to the centre, from front point to notch, using a 6mm seam allowance. Press seams open. Layer the strips for tassels to create two small fans. Baste each tassel together at the base. Position the blue eye centres on top of the peach eye circles and tuck yellow eyelashes in between. Glue in position. Using zigzag or appliqué stitch, sew the eye centres in place, going over the yellow eyelashes. Using more dabs of fabric glue, position the peach eye circles on top of the green eye shapes and stitch in place (take care not to catch the eyelashes in stitching) using thread to match the peach eye circles. Position the beak on the outside of the hat and glue. Zigzag-stitch in place using matching thread. Position the assembled eyes on the hat, glue and stitch using matching thread. Press the eyes from the wrong side of the fabric. Place the button eyes in the centres of the blue circles and hand-stitch to secure. Place the ear tassels on the corners of hat, between the notches, and baste in place. With RST and matching notches, sew the remaining portion of the front seam closed through the tassels using a 6mm seam allowance. Sew down the back seams of the hat, sewing through the tassels to secure them in place. Press seams open and turn the hat to the RS. Sew the lining and press seams open.
Fold 13mm of one end of felt binding to the wrong side, with the edge at the centre back of the RS of the hat, and pin in place. Pin the remaining binding in place all the way around the hat and overlap the ends, centre back. Sew in place with a 1cm seam allowance. Fold the bias trim to the inside and press. From the RS, stitch in the ditch where the binding meets the hat all the way around, through all of the layers. Fold 6mm to the wrong side of each long side of the chinstrap and press. Top-stitch all sides of the chinstrap 6mm from the edge. Trim the long edges from the loop side of the Velcro strip. Position on one end of the chinstrap and hold in place using dab of fabric glue. Top-stitch in place. Position the chinstrap on the left side of the hat as shown. Sew in place with a 6mm seam allowance, through all thicknesses. Fold the chinstrap down and stitch in place in the ditch formed where the binding meets the hat, going through all thicknesses. Trim the long edges from the loop side of the Velcro strip and position on the RS of the hat as indicated on pattern. Top-stitch in place.O
Wild Things to Sew & Wear by Molly Goodall, published by Frances Lincoln, £14.99 £14.99. www.frances lincoln.com
Sew the hat lining sides to the hat lining centre using a 6mm seam allowance, matching the notches and pressing seams open. With WS together, fit the lining into the hat, matching the seams. Trim any excess lining from the edges and baste the lining
Note: Templates available: S, M,L. Face template is for reference only – no need to cut.
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into place around all raw edges, a scant 6mm from the edge.
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Stash-buster
cushion
Bold, retro cushions are back this spring and this great patchwork version captures the look perfectly Project: FIONA HESFORD
Fiona says:
“I love collecting upholstery-fabric remnants and vintage curtains and enjoy chopping them up and mixing them together into patchwork cushions. The eclectic mix of textile designs looks good in all kinds of interiors and really cheers up a room with a bold use of pattern and colour. Your local curtain maker might be glad to find a good home for any leftovers it has, so it pays to be cheeky... after all, you only need small pieces. Take time and have fun playing around beforehand with the different patterns, colours and textures before deciding on the ones you want to use.”
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STASH-BUSTER CUSHION
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SKILL LEVEL: O MATERIALS: For a 45cm-square cushion O 11 18x14cm rectangles mixed patterns upholstery fabric O 48cm-square backing fabric (linen, corduroy, calico, cotton drill or velvet would be all suitable) O 45cm continuous zipping or a 40cm zip O 45cm-square feather or polyester cushion pad O thread O scissors O awl O stitch unpicker
HOW TO MAKE:
Press your fabric. Using the cushion rectangle template, pin then cut out 11 pieces in a mixture of your chosen fabric. Lay out the pieces on a table RS up and arrange them as desired, following the layout shown in Pic A – the centre rectangles placed horizontally the outer pieces vertically. It’s a good idea to distribute the colours evenly. Take a step back and squint to see if there’s any part that doesn’t belong. Live with it for a day or so – it will soon become glaringly obvious if there’s a piece out of place. When you are happy with the formation, number the pieces from one to 11 by sticking small pieces of numbered masking tape to each piece. Attach the tape to the reverse of the fabric if your fabric has a pile. (See Pic A.)
Lay piece 1 on top of piece 2 with RST and pin at the LS edge. Repeat with piece 2 and 3, pin at the RS edge, then again with piece 3 and 4. Stitch together with a 1cm seam at the pinned edge so that you have a strip of four rectangles altogether. Finish the raw edges with a zigzag stitch. Press.
reinforcing the stitches at either end. Press the seam flat open and lay the front and back cushion pieces out flat. (See Pic D.)
Repeat with pieces 5, 6 and 7, and then 8, 9, 10 and 11 so you have three strips of patched fabric altogether. (See pics A, B and C.)
Tack-stitch by hand along each side of the zip, then remove all pins. (See Pic F.)
Finish all raw edges and press seams in alternate directions – strip A and C to the RS and strip B to the LS. This avoids the seam being too bulky where they cross over. Now lay strip A on top of strip B with RST. Pin at the top edge, then stitch a 1cm seam as before. Repeat with strip B and strip C, pin at the lower edge and sew a 1cm seam as before. Finish the raw edges press to one side. (See Pic B.) If there is any surplus fabric overhanging, trim down. (See Pic C.)
INSERTING THE ZIP
Finish the raw edge of the back piece and front patched piece at the lower side only. Mark where your zip will be at the centre of the lower edge using pins. Lay your back piece on top of the front and pin RST. Using a 1.5cm seam allowance, sew a line of stitches, but stitch the longest stitch length at the zip position indicated by the marker pins,
Place the zip RS down on the reverse side of the seam. Pin along both sides of zip. (See Pic E.)
Using a normal zip foot on your machine and making sure to keep the stitching close to the teeth, stitch down one side of the zip, across and back up the other side and then across the zip (at the point where the reinforced stitches are). (See Pic G.) Sew in any ends to the reverse side. Remove tacking stitches and then rip open the seam carefully to reveal the zip. Press. Pull the zip open to the centre of the cushion. Pin together the cushion RST at the remaining three sides. Stitch a 1.5cm seam around the three sides. (See Pic H.) Finish raw edges together. Nick across the corners of the cushion, then turn the cushion inside out, pushing out the corners. Use a chunky knitting needle or a chop stick to do this, but be careful not to poke a hole! Press, insert a cushion pad (feather ones look best) perch on your sofa and then step back and admire your beautiful patchwork creation.
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We haved moved to our new store at 217 -219 Grimsby Road, Cleethorpes, DN25 7HB and we have a fabulous range of fabrics, haberdashery, sewing machines, sewing furniture, patchwork classes, sewing classes and a lovely tea room for you to enjoy a fresh coffee, tea and some yummy cakes. Our fabrics are by Moda, Riley & Blake, Michael Miller, Hantex, John Louden, Fabric Freedom, Nutex Macower, stoff
T.01472 600874
[email protected]
www.lcfabrics.co.uk
At L & C Fabrics, We sew, we make, we create
217-219 Grimsby Road, Cleethorpes, DN35 7HB
FREE CAR PARKING!
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Couture sewing with
Alison Smith MBE Interfacing zipper applications There's no need to be scared of zips. Follow these steps and you'll have neat, staight fastenings every time
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know many sewists who are terrified of zips. Why? Maybe some of these sound familiar – the zip looks crooked, it doesn’t match at the top, one side is puckered, the base of the zip is bulky. I am going to take through the application of a concealed zip, but many of these tips also apply to other zip applications. The majority of zips go into a centre back seam, although on some garments zips will be found on a left-hand side seam. However, these tips can also be applied to zips in craft items such as bags or cushions. A concealed zip is inserted prior to the seam being constructed.
With your sewing machine on a straight stitch, stitch along the stitching line at the upper edge of the fabric and then along the stitching line where the zip will be inserted. Make each row of stitches approximately 4cm long. The lines of stitching should intersect at the upper edge, where the top of the zip will be. Make sure these rows of stitching match on each side. (See Pic B.) To find the correct position for the top of the zip, fold the upper edge of the fabric, WS to WS, along the stitching line. You will find, unless your fabric is very fine, that the fold is actually now slightly lower than the row of stitches.
Cut two strips of fusible interfacing 2.5cm wide by the length of the zip plus 2.5cm. Fuse these onto the WS of the fabric where the zip is to be inserted, one on each piece of fabric along the seam allowance. (See Pic A.)
Mark the fold with a pin. The thicker the fabric, the larger the gap between the row of stitches and the pin will be. The top of the zip needs to sit where the pin is, NOT at the row of stitches. This step ensures that the zip is neither too high or too low. (See Pic C.)
Neaten the raw edges of the seam using an overlocker or a small zigzag stitch.
The top of the puller on the closed zip comes slightly above the top stop on the zip. With
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the zip closed, place the RS of the zip to the RS of the fabric with the top of the puller where the pin is and the centre of the zip teeth on the stitching line for the back seam. Pin. If you wish, you can replace the zips with a row of tacking stitches. Open the zipper. (See Pic D.) Making sure you have a concealed-zip foot on your sewing machine, you are going to machine-stitch the first side of the zip. A concealed-zip foot will hold the coils of the zip open so that you can stitch just underneath them. This foot usually has to be purchased separately to a sewing machine, but it is so worth the money! Machine-stitch along the zip and tape just under the coils until the foot hits the puller, which is now at the bottom of the zip. Now reverse a couple of stitches. (See Pic E.) Remove from under the machine and do the zip up. If it sticks, make sure you are not in too close. Similarly, if there is too much zip tape showing, then you can stitch down again, getting in closer. Keeping the zip closed, place the other half of the back, RS to RS, matching at the top edge, and pin the other half of the zip tape in place. Tack if you wish to do so. (See Pic F.) Undo the zip and stitch the remaining side of the zip in place. The zip should now look fairly invisible and the remainder of the seam is open. The seam now needs to be stitched. (See Pic G.) Pin the remainder of the seam RS to RS. Pull the end of the zip out to the right and with either the regular zipper foot
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COUTURE SEWING WITH ALISON SMITH
Alison Smith’s Couture Sewing Classes
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on your machine or the regular straightstitch foot, machine-stitch the seam, taking a 1.5cm seam allowance. There will be a space between the stitching of the zip and the stitching of the seam. The space should be 2-3mm. Press the seam open. (See Pic H.)
interfacing provides that bit of extra support to a seam that comes under strain and that may stretch. I am sure you will agree that those few centimetres of interfacing have made a difference. I also hope you will find marking the seam allowances has also helped.
The end of the zip tape is loose and now needs securing. Carefully machine the last 2cm of the zip tape to the seam allowance on each side. (See Pic I.)
Do let me know how you get on with my techniques and send in some of your photographs! O
You should now have a zip that looks very professional, with no puckers or lumps and bumps, and that meets at the top. (See Pic J.) You may be asking – why the interfacing? The
Ladies’ Trousers – Wardrobe Basics 4 Fee: £240. Dates: Wednesday 1st and Thursday 2nd April 2015, 10am - 4pm A two-day workshop to achieve that perfect pair of trousers. You will work from a commercial pattern and shape the trouser leg, crotch and waist for your measurements. You will then make the trousers in calico and perfect the fit and make you a pattern. On day two we will make the trousers in a fabric of your choice and show how to make a fly-front zip, waist and hem finishes. Patterns and fabric are required. The Corset Fee: £240. Dates: Wednesday 8th and Thursday 9th April 2015, 10am – 4pm A two-day workshop on making an authentic Victorian corset using an original Victorian pattern (circa 1860) and authentic fabric, including a waist stay and spiral boning techniques. You can make the basic corset or, for those with corset-making experience, you can choose one of our alternative patterns. Bring your own top fabric and lining fabric. Coutil and busks etc will be available to purchase on the day. The Couture Dress Fee: £360 Dates: Tuesday 14th, Wednesday 15th and Thursday 16th April 2015, 10am – 4pm Take your sewing a whole new level with a three-day workshop to make a dress using couture techniques. The dress will be underlined with hand-finished seams and hand-prepared zipper applications. You will need to supply your pattern and fabric. Suitable underlinings will be available to purchase on the day. Advanced Tailored Jackets Fee: £480/ Dates: Tuesday 28th April, Wednesday 29th April, Thursday 30th April and Friday 1st May 2015, 10am – 4pm A new four-day class to make a more complicated tailored jacket. You will learn advanced techniques for fusible application, collars and pockets. If you have mastered simple jackets it’s time to expand your skills. You will need a pattern and fabric for this workshop. For details and bookings, visit www.schoolofsewing.co.uk
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How to...
Read a dressmaking pattern A guide to basic markings and symbols
GRAINLINE
The pattern piece must be ‘on grain’ with the threads of the fabric so that it can hang, move and stretch correctly. The grainline must always be parallel to the selvage of the fabric.
DARTS
Parts of the fabric to be folded for shaping, usually located at the bust, waist and neck.
CIRCLE DOTS
These marks indicate construction details, such as pleating or the end-of-stitching line as set out in the instructions. Some pattern companies will use triangles or squares in place of circle dots.
CUTTING LINE
These lines follow the size of the garment. There can be up to 10 sizes on a pattern sheet, so after you have selected yours, follow that specific line all the way around the pattern piece. Cut just outside the line.
NOTCHES
These triangles are to be cut either outside of the pattern piece or into the seam allowance. If your seam allowance is the standard 1.5cm, you have enough room to cut into the pattern. If it is smaller, carefully cut outside the shape.
STITCHING/SEAM LINE
The line on which you sew. This is found more commonly on vintage patterns.
PLACE ON FOLD LINE
This edge of the pattern piece is to be placed on the fold of your fabric, making it easy to cut out a mirror image at the same time.
LENGTHEN OR SHORTEN LINE
This indicates exactly where to shorten or lengthen the pattern piece or garment.
ZIP PLACEMENT
Indicates where the zipper should be inserted into the garment.
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PATTERN MARKINGS
BUTTON & BUTTONHOLE PLACEMENT
The placement for a button is marked with an ‘X’. The placement for a buttonhole is marked with an edged line.
SEAM ALLOWANCE
TUCKS
Transfer any tuck lines marked on the pattern pieces to the RS of the garment to indicate where the tucks should be sewn into place.
Every project you sew has a set seam allowance. This is the distance between where you sew and the raw edge of the fabric – essentially an invisible line around each pattern piece. You must sew at the seam allowance in order for the pieces to line up correctly. Seam allowances are most commonly 1.5cm, but even if a project is to be sewn at a set seam allowance, some seams might be changed to have smaller allowances. Sewing machines have marks for the seam allowance to the right side of the presser foot. Many have the number marked only in metric units while other machines have metric and imperial markings.
HEM
This line shows where to sew the hem on the pattern’s hem allowance.
LAYOUT DIAGRAMS
These explain how to lay each piece onto the fabric to ensure that all of the pieces will fit on the fabric quantity suggested on the envelope. Remember to follow along with the correct view and size. If you are working with a directional fabric, there should be instructions on how to arrange the fabric accordingly.
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Master
your machine
Top tip
Lost your sewing machine manual? Do an online search with your make/ model and you'll probably find a downloadable version
Each machine model offers a range of features and functions, but all have these fundamental elements in common. Use this handy guide and you'll know your way around yours in no time
1
THREAD GUIDES
Two threads make up each stitch. The top thread from the spool of cotton and passes through these guides to regulate the tension of the thread before feeding it through the needle. The second thread comes from the bobbin.
17
SPEED CONTROLLER
A slider that sets the speed the machine will work at when the pedal is pressed, allowing control and precision when sewing. 2
REVERSE FUNCTION
3
Use this to set the machine working in a reverse direction, to move backwards across a stitched line. This function is used when securing the threads at the start and end of a line of stitching.
NEEDLE AND NEEDLE CLAMP
The needle is removable to allow you to select from a variety of types and sizes to suit your project. The needle is held in place by the clamp. Most machines include a tool for tightening and loosening the clamp to access the needle.
4
PRESSER FOOT
5
Holds the fabric in place as you work. Can be removed and replaced with the type required for a specific sewing task, ie zips.
7
8
6
BOBBIN CASE
16
Inside the removable cover is the bobbin case, which houses the bobbin. The bobbin is wound with thread and provides the second thread for each stitch.
FEED DOGS
17
These moving parts lie underneath the needle plate. With spiked teeth that protrude from the opening, these help to move the fabric through the machine.
NEEDLE PLATE
The metal plate directly below the needle and presser foot. The small opening allows the thread from the bobbin to pass through while the needle enters to make the stitches. On the plate are guide markings to assist straight sewing and measuring seam allowances.
Top tip
If you're struggling with the threading on a new machine, practise with red thread until you get the hang of it
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ADVERTISEMENT FEATURE TENSION CONTROL
TROUBLE WITH TYOUR TENSION?
O Check that both the machine and bobbin are correctly threaded. If these aren't exactly right, this can cause incorrect tension. Also check that the thread on the bobbin is wound correctly. If it's too tight or too loose, it won't feed through the machine and make even stitches. Another good tip is to use the same thread in the machine and the bobbin – even slightly different threads can unbalance the tension
Top tip
Don't use polish to clean your machine – the chemicals and moisture may damage it. Remove any dust with a lint-free cloth
10
11
This dial regulates the tension of the stitches by determining the speed at which the thread passes through the machine. Messy stitches, or loops of thread or knots on the right or wrong side of the fabric are a common sign that the tension needs to be reset.
BOBBIN WINDER
Winds thread from the cotton spool onto the bobbin, ensuring that the thread is fed evenly onto the bobbin and maintains the correct tension.
SPOOL HOLDER
14
This pin runs through the centre of a spool of thread, allowing it to feed smoothly through the machine.
SCREEN
12
Displays the relevant information regarding the stitch style, width and length that has been selected.
15
13
HAND WHEEL
Manually operates the mechanics of the machine, moving the needle up and down and engaging the feed dogs.
STITCH SELECTOR
Allows you to select from the different stitches on the machine and includes a menu from which you make your selection. The stitch is selected by moving the wheel to the correct symbol.
STITCH LENGTH AND STITCH WIDTH SELECTORS
Use to increase or decrease the length or width of your stitch. The shorter the stitch, the more stitches are worked across the line of sewing, making it stronger. The width only applies to stitches where the needle moves to the left and right, ie zigzag. For decorative stitches, the bigger the width the better.
Top tip
Use the little brush in your machine's care kit to give it a quick clean every time you refill the bobbin. It helps keep dust and fuzz from gathering
FREE ARM
Can be removed to recreate a narrower working space, which is used when sewing smaller items or inserting sleeves.
ACCESSORY DRAWER
Use to store alternative presser feet, spare bobbins and maintenance tools.
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10% OFF your order with code: LoveSewing Online fabric shop for unique European fabrics from Hilco, Stenzo, Swafing, Lillestoff and Polytex. Farbenmix and Mamu design patterns and the popular OTTOBRE design sewing magazine for women and kids.
If you want something a little bit different then visit us at www.dotsnstripes.co.uk
Fabrics Plus
Patchwork & Quilting Fabrics inc Jelly Rolls, Fat Quarters, Charm Packs etc. Daywear and Bridal Fabric Large Range of Haberdashery Knitting Wool & Patterns Sewing Patterns
19 Badminton Road, Downend, Bristol, BS16 6BB Tel: 0117 3293857
www.fabricsplus.co.uk
The world’s most innovative fabrics
Linton Tweeds design and weave luxury fabrics for the world’s most exclusive fashion houses See our website for the Linton Direct collection
www.lintondirect.co.uk
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Sho p of t he mo nt h
L&C Fabrics Cleethorpes
T
his family-run business prides itself on customer service and has recently opened its own tearoom – in its first twelve months of trading it really has gone from strength to strength. How long have you been open and what’s the story behind the shop? I started quilting a couple of years ago but couldn’t find any nice fabric shops in my area, so I opened my own. We found and renovated an old post office, which had been empty for 22 years, and we opened on 14th February 2014, two days after my 50th birthday. As the year progressed we out-grew the post office and took over a car showroom on the next corner. What can people expect when they visit? A beautiful bright and airy fabric and haberdashery shop. My daughter Claire works with me in the shop and my husband
and son also help out, so it’s a family-run business. When people visit our shop we give them a warm welcome and help them as best we can – we pride ourselves on good customer care. The shop has a nice atmosphere and lots of natural light so all the fabric can be seen in full colour. We have also just opened a tearoom, called Jay’s Tearoom after my son Jordan, which stocks yummy, locally made cakes. Which key brands do you stock? Moda, Riley & Blake, Nutex, Stof, Michael Miller, Ebor, Makower, John Louden and Hantex, plus some new ones on the way that we are very excited about. Can you tell us about the classes you run? How do we sign up? We have a Jennie Rayment Create and Craft workshop this month, and we are hoping she will be back later in the year. We have on-going classes in patchwork and sewing and we will be
having youngster’s classes starting at the end of February. Anyone can call in store to sign up for the classes, or phone 01472 600874 for more details. Do you sew or craft? If so, what’s on your sewing table at the moment? I’ve just started a baby quilt for a friend using Winnie the Pooh fabric from our store. What kind of service do you offer online shoppers? We have an ebay shop, a website and we also sell on our Facebook page. O Contact: L&C Fabrics 217-219 Grimsby Road, Cleethorpes DN35 7HB 01472 600874 www.lcfabrics.co.uk
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Classes and workshops London and South East
27th February Sewing 101
Sew Enjoyable, St Albans If you have a machine gathering dust, or were given a new machine for Christmas, these sessions are great way to get you going. Sewing 101 is a set of three weekly sessions where you learn to use your machine, gain confidence and make some lovely projects at the same time. Make a cushion cover, an apron and a very useful tote bag. Materials and refreshments included. 9.30am – 12pm, £30 www.sewenjoyable.co.uk
4th March
Four-patch Quilt with a Twist
Stitched By You, Alton This quick rotary-cut project will grow quickly using modern patchwork methods. You will start with a four-patch block and with just a few cuts manage to change it into something new. 10am – 4pm, £60 www.stitchedbyyou.co.uk
28th February
Sew Over It, Islington N1 The Lulu Dress is a lovely loose, slightly A-line shift dress with raglan sleeves, gathered at the neckline with a keyhole detail. In this class you will learn how to bind a neckline with bias binding, inserting a keyhole facing, gathering and attaching a raglan sleeve. Please note this is not a beginner’s dressmaking class. 10am – 5pm, £99 www.sewoverit.co.uk
Creative at Incanto, Bournemouth Suitable for anyone who can use a sewing machine. Learn how to dress up your home by making your own patchwork cushions. A selection of pretty vintagestyle and patchwork fabrics can be supplied at cost or bring your own. 1.30pm – 4.45pm, £25 www.creativeatincanto.co.uk
Lulu Dress
28th February
Sew a Dresden pouf
The Village Haberdashery, London Make a beautiful and functional Dresden pouf in this fun one-day class! You’ll learn how to sew a Dresden plate, construct a pouf and insert a zip, plus loads of tricks and techniques along the way. 10am – 5pm, £90 www.thevillagehaberdashery.co.uk
21st March
Patchwork Cushion Workshop
South West & Wales
5th March
Complete Dressmaking Course for Beginners
Cloth Kits, Chichester Would you like to learn how to make clothes from a paper pattern? Are you bemused by all the marks on the tissue and the sewing terminology? Could your sewing do with some guidance? Complete Dressmaking for beginners is for you! Based in our Chichester workshop with top tutor Maria Pulley. During this four-week class you will construct a finished garment of your choice. £240 £240, 9.30am – 4pm (4 weeks) www.clothkits.co.uk
28th February
Beginner’s blackwork
Jen Goodwin Embroidery, Poole, Dorset Another new design for 2015 inspired by floral motifs found within historical embroidery samplers. This class will introduce shading through stitches and thread thicknesses. 10am – 4pm, £37.50 www.jengoodwinembroidery.com
Midlands & East
28th February
Card Wallet or Purse
Space to Sew, Shrewsbury Create a purse that will hold your notes, change and cards. Choose your inner and outer fabric, have plain fabric for the card pockets, dark for the lining and bright for the outside. Mix and match to create a unique purse. 10am – 1pm, £40 www.spacetosew.co.uk
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21st March
Clothing Alterations
Ministry of Craft, Manchester Learn how to sew your own alterations and save money and time. Learn how to take up and re-hem skirts and trousers, and to recreate two types of hem, plus how to alter shirts, tops and dresses with darts and shape an existing garment to suit your body. 2pm – 5pm, £37.50 www.ministryofcraft.co.uk
5th March
Envelope Cushion Cover – Learn to Sew with Lauren Guthrie & Ghani, Birmingham Get to grips with the basics of sewing and using a sewing machine right from the beginning while making a beautiful envelope cushion cover with a lovely topstitched border. 6pm, £50 www.guthrie-ghani.co.uk
North West
28th February
Reverse Appliqué with James Fox
Creative Threads, Garstang Layering stitching and cutting back, reverse appliqué is an exciting technique using multiple layers of fabric to produce colourful designs. James Fox, a textile artist, will teach you all the tips and techniques needed to enjoy this creative appliqué technique. 10am – 4pm, £40 www.creativethread workshops.co.uk
20th March
2nd March
Backstitch, Cambridge Are you keen to start dressmaking but lack the confidence to get going on your own? This three hour introductory class is perfect for you. You will need to have completed one of our ‘Sewing Machine Basics’ courses or have similar experience with a machine. This means you must be able to thread the machine on your own, wind a bobbin, and go forwards and backwards with straight stitch. All materials included. 1.30pm – 4.30pm, £35 www.backstitch.co.uk
Abakhan Fabrics, Liverpool Start with a standard zip, moving onto a lapped zip, then progressing to an open-ended zip and finish off the day with a concealed zip. This can be tricky but, trust us, once you’ve learnt how to do it you’ll never look back. 10am – 3pm, £35 www.abakhan.co.uk
Start Dressmaking
Day of Zips
18th March
Dressmaking Zips and Buttonholes
Grace and Favour, Cleveleys Love dressmaking but struggle with zips and buttonholes? If that’s the case our brilliant zips and buttonhole workshop is a must for you! If you know how to use a machine, or have completed our How to use a Sewing Machine workshop you can book on this one to perfect and develop your dressmaking and craft skills – learn how to create the perfect buttonholes on the sewing machine and practice inserting a closed end zip and an invisible zip with us! 6.30 – 8.30pm, £25 www.grace-favour.co.uk
Scotland & North East
28th February
Saturday Cushion Class
Red Thread Studio, Edinburgh Come along and learn the skill of how to make an envelope cushion in a fabric of your choice, while learning to sew at the same time. Develop confidence in pinning and cutting fabric, threading a machine and stitching seams and corners. Suitable for complete beginners. 2pm – 5pm, £30 www.redthreadstudio.co.uk
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MATERIAL NEEDS Centre Front Studio is a sewing and textile studio that teaches industrial and couture techniques.
Learn how to: • Sew
• Pattern Cut and Drape • Construct Garments • Make soft furnishings for the home • Make accessories
1 Alexandra Street, Wallsend, Tyne and Wear, NE28 7SP www.centrefrontstudio.co.uk
Whenever you sew or knit, you need the right materials, whether it is dress or quilting fabrics, wools/yarns, needles/pins, threads, buttons or ribbons. We have a wonderful selection of all these, together with a great range of haberdashery products, and there is more! All this with helpful, knowledgeable and courteous service to support you. Why not try us?
www.material-needs.co.uk
[email protected]
Tel: 01278 794751
79 High Street, Burnham-on-Sea, Somerset, TA8 1PE
Lovely fabrics, sewing supplies, books & magazines, workshops, sewing machine sales, servicing & repairs **New online shop coming soon**
www.sewmuchtodo.co.uk 7 High Street Passage, Ely, Cambs CB7 4NB 01353 664000
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Oh Sew Sweet Shop 6- 7 Fountain Parade Mapplewell, Barnsley S75 6FW, 01226 386863 www.ohsewsweetshop.co.uk Reasons to be cheerful? * Wide range of fabrics from major manufacturers. * Excellent range of accessories, waddings & haberdashery. * Spacious workshop space for our very popular classes. * Large FREE car park & close to other shops & Tea rooms. *10 minutes from Jct 38 M1, Call in or see us online!
Elm Road, gh-on-Sea, Essex,LS11.P93.indd SS9 1SN
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NEW FOREST FABRICS
Vintage - The Henley Studio
www.newforestfabrics.co.uk t: 02381 783386 e:
[email protected]
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READER OFFERS
READER OFFERS
WIN worth £60
Discounts & giveaways
Your chance to win fabric, a place on a Badger & Earl workshop, and a special discount on Linton tweed
a sewing workshop with Badger & Earl
GET 15% OFF
Badger & Earl is a sewing and craft café based in West London, offering fabric, haberdashery, classes, coffee and cake! Its beautiful fabric stash is a story for another day, as we’ve teamed up with the store for this issue to offer you a chance to win a place on one of the workshops on offer in its social craft space. The winner can pick any course up to a value of £60, before the 30th June 2015. See the schedule: Whether you fancy tackling a sewing course, or want to get a few kids involved in one of the children’s courses, keep an eye on www.badgerandearl.com for the latest schedule, or pay a visit at 14A Sutton Court Road, Chiswick, London W4 4NG.
LINTON TWEED FABRICS
Love the beautiful tweed we used to create the matching set for this month’s Jackie O Jacket and last issue’s skirt pattern? Well, there’s no better time to add it to your stash, as we’ve got an exclusive 15% discount for readers of Love Sewing magazine at Linton Tweed. Get yours now: Head to www.lintondirect. co.uk/shop, fill your basket and use the code LOVE15 at checkout to claim your discount before the 31st May 2015.
WIN bundle
a Dear Stella Floral Daze fat-quarter
With spring on the way, we’re lusting more and more after gorgeous floral designs. This fat-quarter bundle from Dear Stella is almost too pretty for us to part with, but we’ve decided to give you the chance to win it anyway. The handpainted floral designs in washes of soft yellow, shades of orange, and olive green are tied together with classic, effortless navy and a simple net print in a range of colours to mix and match. Get yours now: Find out more about Dear Stella Designs at www.dearstelladesign.com
How to enter
For a chance to win one of these prizes, enter your details, along with the name of the product you want to win, at
www.ppjump.co.uk/lovesewing11
By entering this competition you accept that your details may be passed on to a third party. Competition open to UK entrants only. Closing date 2nd April, 2015
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THE SEW NG SHOP Essex
Aldershot
Haberdashery
Suffolk
BECCLES SEWING & HANDICRAFTS AND SEW ON FABRICS
• Family-run business, set within a beautiful craft centre, for all your fabric needs. Michael Miller, Dashwood studios, Riley Blake, Moda etc. Also furnishing and dressmaking fabrics.
BANBURY SEWING CENTRE
57 Parsons Street, Banbury, Oxon, OX16 5NB Tel: 01295 262344 Email:
[email protected]
Unit 12, Blake House Craft Centre, Rayne, Essex, CM77 6SH Tel: 01376 346532 www.andsewonfabrics.com
• Suppliers for sewing, knitting, craft, felting and much more. Telephone orders welcome.
Hertfordshire
Haberdashery
DRESSMAKING & CRAFT FABRICS, HABERDASHERY & CRAFT REQUIREMENTS SEWING MACHINES REPAIRS & SALES
Authorised dealer for: JANOME, BROTHER, BABYLOCK, SILVER, ELNA, SINGER, JUKI, ALFA & FRISTER+ROSSMANN. 15A, Blyburgate, Beccles, Suffolk NR34 9TB 01502 714234
North Devon
Shirmart Crafts For all of your cardmaking, jewellery, knitting, crocheting and sewing needs.
CRAFT CORNER
THE BUTTONHOLE
• Huge range of 100% cotton fabrics, polyester, felts and calico.
• We stock a range of high quality dress and crafting fabrics. An extensive range of haberdashery. Crafting kits.
Phillimore Garden Centre, Cambridge Road, Melbourn, Hertfordshire, SG8 6EY Tel: 01763 268686
Workshops
Staffordshire
77 High Street Ilfracombe Devon EX34 9NQ Open 6 days a week.
53 Chapel Street, Chorley, PR7 1BU Tel: 01257 260900
✆ 07976 603823 ✆ 01271 268353
Bristol
Cumbria
The Sewing Patch
GREENS FABRICS OF BLACKBURN Tel: 01254 680954
www.fabricsand materialsonline.co.uk
North London
100% quality cotton fabrics Over 900 fabrics to choose from. Wadding, haberdashery, mettle threads, Gutermann threads, DMC embroidery threads Rotary cutters and rulers. All your patchwork and quilting needs. Classes and workshops daily The Sewing Patch. Strawberry Garden Centre Bramshall Rd, Uttoxeter, Staffordshire ST14 5BE 01889 562553
FOBBLES
• Fabric & Wadding • Haberdashery & Notions • Patterns & Books • Workshops
• Specialists in Patchwork, Quilting & Needlecrafts Fabrics, threads, patterns, books, magazines Variety of workshops available Tailor made retreats to suit your group Swift efficient mail order service
www.sewingpatch.co.uk
find us on facebook and in our ebay shop
71 Westbury Hill, Bristol BS9 3AD Tel: 07900 927279 www.poppypatchwork.co.uk
Gubbergill, Irton, Holmrook, Cumbria CA19 1YQ Tel: 01946 724764 www.fobbles.co.uk
Buckinghamshire
Craft Kits
Fabric
POPPY PATCHWORK
SEWBOX
THREADS AND PATCHES
• One-stop shop for patchwork, needlecraft and knitting supplies. Large car park, workshops in patchwork and quilting held daily – please see our website for details. Book 15 classes for just £80 with our Workshop Passport. Friendly, knowledgeable staffwww.sewbox.co.uk 15 Watling Street (High Street), Fenny Stratford, Bletchley, Milton Keynes MK2 2BU Tel: 01908 649687 www.threadsandpatches.co.uk
SEEK IT OUT
● We stock a wide range of craft kits to suit
all tastes. Sew, knit, stitch, crochet and much more...
www.seekitout.co.uk
• Sewbox – the ultimate way to shop ‘on-line’ for your dressmaking supplies! Sewbox aims to bring together carefully selected, global ‘indie’ sewing patterns that are both modern and stylish and beautiful, exciting fabrics. In addition, the website offers a whole range of haberdashery, buttons and the convenience of matching threads, zips, interfacing etc. Liberty fabrics in stock. Beautiful fabrics & stylish patterns www.sewbox.co.uk
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Next month in
STYLISH SEWING MADE SIMPLE!
2 FREE
DRESS PATTERNS
Exclusive Kimono wrap dress & The Great British Sewing Bee drapey wool dress Easy appliquéd cushions
Smart shirt upcycling
ISSUE 12 ON SALE 26TH MARCH 2015 All contents subject to change
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30-MINUTE MAKE
Scrappy owl Brighten up a child’s bedroom with this cuddly, colourful owl with a hanging loop and sweet ribbon feet Project: EMMA CORBETT
Use your free template
SKILL LEVEL: O MATERIALS: O free template sheet O 3 fat quarters contrasting printed fabric O heat-bonding interlining O embroidery thread (for sewing eye details) O 2 buttons O scrap of rickrack trim O 1.5m ribbon NOTE: all seam allowances are 0.5cm.
HOW TO MAKE:
Using the template, cut out the three body pieces from your three fabrics. Iron the fusible backing to the beak and eye pieces. Hand-sew on circles of felt for the eyes and attach buttons using three strands of embroidery thread in a contrasting colour. Hand-sew the eyebrow pattern onto the eye piece (optional). Attach the eye piece and beak to the front panel. Lay the beak underneath the eye piece for a neat finish. Tack the rickrack trim to
underside of beak before sewing beak down. For a decorative finish after straight-sewing the eye piece down, sew around it again using zigzag stitches. Attach the wings at each side of front panel. Be careful to join the notches. Clip around the curves, being careful not to clip into the seams. Press the seams of both wings open. Zigzag-stitch down the wings for a smooth finish. With the front panel complete, cut six lengths of ribbon to 12cm. Position the ribbon in two sets of three to form a ‘foot’ shape, pin and then sew in place at the bottom of front panel.
For the hanging loop, cut two lengths of ribbon approximately 21cm long. Sew them together so that you have a printed slogan on each side of the ribbon. Press and steam into the hanging-loop shape using a hot setting on your iron. The ribbon should hold now this shape. With RS of the fabric together, sew the owl together. Take care with the pieces of ribbon – all pieces must be facing into the owl’s body at this point. Leave an opening of approximately 7.5cm at the side wing and stuff the owl with toy stuffing. To finish, hand-stitch the side opening closed. O
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