Reflections on reflections – or starting a sewing blog in 2018

Nine months ago I started writing this sewing blog. I thought I’d write a post today as a reflection on how things have gone so far – just in case anyone out there might be thinking about starting one of their own.

May 2018: I’d been sewing for nearly five years, and reading blogs obsessively for most of that time. Though I enjoyed reading what other people had written, I had no intention of actually writing my own. I would have been more than happy to write about any and every aspect of sewing, but with such a visual medium I couldn’t bear the thought of taking pictures of myself and publishing them for the world to see. It’s a truth universally acknowledged that I don’t take a good photo. My ability to gurn in the most serious and romantic photos is well-renowned.

So it was with much trepidation and misgiving that I changed my mind.

Having read blogs for many many years and enjoyed reading them I was always fascinated about what it would add to my experience of sewing to actually start writing about the process. In parallel to my love of sewing, my husband has an interest in films that borders on obsession. He’s written a (brilliant and insightful) film blog for the last six years (read it: I know I’m biased but it’s excellent). Early on in that time I bought him a workshop at the Guardian with their film critic, Peter Bradshaw. One thing that really stuck with him from that day was a discussion around the way that your experience of something changes when you start to write about it. You stop being a passive observer and analyse your own position, thoughts, feelings and so on. I could see definite comparisons with sewing and was curious about how it would change my creative enjoyment of dressmaking.

So this is a reflection on how things have gone, and what I’ve learned so far.

Lady WordPress tells me that I have written 12 posts in the last nine months. She notes that 885 different people have visited my site so far (thank you all) and that my average word count per post has gone up in 2019 with a corresponding reduction in likes. Hmmm, something to think about. Apparently 48% of traffic happens on a Monday, with 4pm the busiest time – I’m not 100% convinced about this, because Lady W has told me that Monday is the best day to publish something from the beginning – so is its busy-ness cause or effect? Most visitors have been from the UK, but with a healthy proportion from the USA, Australia and mainland Europe.

In those months, some lovely people have followed my blog and commented, but most people who read anything I have written come from the Foldline community and their Facebook page. It’s this wonderful fact that has helped me come to terms with photos of me being displayed on the internet for everyone to see – because actually, the only people visiting are the lovely sewing community and they are the last people in the world who would call me out on my photos, figure or finishing. My family supportively read each post too (or they tell me they do), but I trust that they aren’t easily shocked after all these years by bad photos of me.

Writing about my sewing has definitely changed the way I approach projects. I’ve never been speedy (see my tag line), but I’ve always been fairly instinctive about my sewing choices. I find that in thinking about the blog, I’m more thoughtful about my decisions about what project to undertake next.

Although I thought I would, I’ve not written a blog about everything I’ve made in this time. One example was some waxed wraps that I made in the autumn – I took pictures as I went along with every intention of writing it up for the blog – but in the event there was nothing new that I had to say about the process or the result. I’d looked up the ‘how to’ online, and followed the guidance of Heather Lou – so with nothing new to add to the party, it seemed a bit ridiculous to say “and this is how I did it too”. It’s a great method, and I strongly recommend having a go, for what it’s worth!

I’m definitely more reflective now about what went well in a project, and what I’d change for the next time around. Again it’s probably in parallel with the fact that I’m getting a little more experience under my belt, but I enjoy thinking about what worked and what didn’t – and why: was it the fabric, the pattern, the sewing, the notions, did I rush it, did I learn a new skill? What does the garment do for my (vertically challenged) proportions, and what does this tell me for my next choice?

As a final point, one of the most popular posts I’ve written so far was about the Sewing Weekender in August. As something of an introvert, I found it interesting to write about my experiences in that context – sharing sewing with others in a way that I don’t, as a rule. Lots of lovely people who were there that weekend reached out and said warm and encouraging things, and it was great to share The Fear and be reassured. Another thing that came out of it was an out-of-the-blue contact from Frances Tobin – The Maker’s Atelier, who had been at the weekend as a speaker. She’d read my blog and wanted to include some of this perspective in her lovely magazine.

It was an absolute rush to the head to finally see it in print this month – so thank you to Frances and to everyone else who has given me the confidence to write these Tales – in particular the Foldline community. I look forward to writing more of them in 2019 and beyond.

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Fifties’ fabulousness

 

It was November when I accepted the party invitation. I knew there was a fifties’ theme, and I knew I’d want to make a dress for it.

So why – why??? – was it only yesterday afternoon that I started sewing the dress that I was intending to wear that evening?

It’s probably best not to analyse my need for an urgent deadline to get anything done – instead I’ll talk through the process – and my joy in having picked a pattern that was both quick and straightforwards. It’s certainly true that, being a snail of a sewist, if it had been anything more complicated I’d definitely have ended up resorting to finding something RTW at the back of the wardrobe, and hoping it still fitted.

When I published my #makenine list a couple of weeks ago, the #Sewoverit #cowl dress was there at number 5 – and I cannot tell you how smug I feel that I’ve actually achieved one of my plans. [I even mentioned there that I’d thought I’d wear it to the party last night, so I really have no one but myself to blame that I didn’t do anything about actually making it till yesterday afternoon.] I thought a lovely dark red ponte would be perfect, but I knew it would want something with the right amount of substance to make the cowl drape right without being too structured. I didn’t want to order anything online, because I knew I’d want to feel the weight and the drape for this one.

For one reason or another (pressures of work, family, taxi-service to children etc), getting to a fabric shop just didn’t happen. I work within a 20 minute walk of Fabrics Galore in Battersea, so I intended to walk there all week at lunchtime – and failed every single day. Saturday morning I waved a white flag to my intentions – I had a maroon piece of jersey that would do. It was a bit thinner than I’d wanted, and it was intended for the #Kielo dress on my #makenine list, but it would do. I popped it into the washing machine as I headed out on one of my family-taxi runs yesterday morning, and made a mental note to pop into the Sweet Seams sewing shop on our high street on my way home to pick up some matching thread.

It wasn’t my fault that Sweet Seams had a beautifully drapey, velvet-ish silver-grey polyester that turned my head. I’d gone in for thread I tell you. I came out with rather more …

img_5356So while the second load of washing was doing its thing, I stuck together the PDF pages together – about 40 pages, though about four of them were blank. Unusually (in my very limited experience of PDF pattern sticking), the overlap between pages was quite wide and the pattern printed nearly to the edges of each page, which meant that I didn’t really need to trim the edges. I could just stick the pieces on top of each other. I’ve experimented with various methods of sticking PDFs together and my accuracy isn’t brilliant with any of them – but this way was less wonky overall.

2pm kick off – pattern pieces ready to go, fabric washed and dried. With a bit of encouragement from the lovely Foldline sewists on Facebook, I took a deep breath and started cutting out. One of the beautiful things about this pattern is that there are literally three pattern pieces to cut out – front dress on the fold, back dress on the fold and two sleeves. The fabric was quite slippery in the cutting out stage, but it was manageable. I’d tried to iron the fabric without success – whatever temperature I tried it just left iron marks on the fabric – so I had a scorched bit at the side I had to avoid but that wasn’t tricky.

sew over it cowl dress 2

Another thing I really liked about the pattern was that it gave instructions for overlocking the fabric. A lot of patterns, I’m sure to be inclusive to all, don’t seem to tell you when you could/should overlock the edges or in what order. Obviously you can work it out, but when you’re working to a deadline (ah hem) it’s helpful to be told what to do. On the other hand, there were several times when the steps or order didn’t make sense to me at all – for example, overlocking each side of the sleeve sides before sewing together (which made total sense) and then overlocking the hem of the sleeve afterwards. Overlocking a narrow sleeve hem edge is tricky, so I just overlocked the three sides of each sleeve before sewing up. That kind of thing.

IMG_5363.PNGThe instructions were to use a twin needle for the neck, sleeve and dress hems, but I just used a zig-zag stitch throughout. On balance, I’m not sure that was the right decision, as the stitching looks quite obvious to me scowling at the dress form this morning. I’m not sure the twin needle would have been right either though – probably should have tried for a more invisible hem stitch.

Reflections on this make – definitely the right fabric choice, and I’m glad I took that unplanned trip into Sweet Seams when I did. While polyester/velour wouldn’t be everyone’s choice (nineties tracksuits anyone?), it felt luxurious, and a bit fifties’ glam which was perfect. The drape of the fabric worked perfectly for the cowl. It definitely needs a belt at the waist, but I’d anticipated that from the pattern images and borrowed one from one of my obliging daughters. img_5339With my new shoes from Collectif, it felt like the right outfit for the party – and I felt confident and comfortable: not a guaranteed combination on any occasion.

In terms of the pattern, I really like it. It’s one of those makes that gives you a result that looks like much more effort/time than it actually took (win). I’d definitely make it again – maybe next time in a less ‘party’ fabric, so it could be part of my work wardrobe. If I were doing it again, I’d definitely go for a fabric with a bit of heft to it (definitely sew over it cowl dress 3nothing too thin), and I’d try and go for an invisible hem – a bit of hand stitching probably. I think it would be worth the effort, and given the simplicity of the rest of the pattern, it’d be time well spent. I’d also put some ribbon or tape along the back neckline and shoulders, to give a bit more structure to the cowl, and stop it slipping down my shoulders (which wouldn’t be a great work-look!)

What do you think? Anyone else made the cowl dress?

 

 

An attempt at ‘elegant’

At the 2018 sewing weekender, I was lucky enough to hear from the inspirational Francesimg_5174 Tobin about her company, The Maker’s Atelier. With a range of beautiful, classic sewing patterns, Frances’ products are all graceful and elegant – pretty much works of art in themselves, with beautiful photography, designs and packaging that you want to keep. She also produces a lovely magazine with fascinating and relevant articles about the whole process of making garments, again with high production values. A coffee table sewing magazine, if you like.

So it wasn’t a massive leap that I would buy one of her patterns and try on ‘elegant’ as a new concept. The pattern of choice had just been released – the Madeline Robertson jumpsuit and dress. I drooled over the style at the sewing weekender, and decided that my daughters would love the jumpsuit and I would love the dress. img_5175

An aside here – the pattern isn’t just named for Madeline Robertson – she’s the fashion student who designed it. Frances has commissioned a series of designs from students and graduates starting out in their careers, “to encourage the craft of dressmaking”. It’s great that she’s lending her expertise and network to help new designers get started.

I bought the fabric for this make from Fabrics Galore – a lovely blue cupro – a material I’d not even heard of before let alone sewn. The Laundress tells me that it is “a fabric of regenerated cellulose fibers from recycled cotton linter, [it] breathes and regulates temperature like cotton, drapes elegantly, and feels like silk.” What I can say for myself is that it’s a lovely fabric to work with – it has the drape of silk without its wilful slipperiness, can take a reasonably hot iron and feels lovely to wear. I’d definitely opt for it for future makes when I can source it. I don’t know if this is true of all cupro, but mine had a sheen on one side, and the other was a kind of matte finish – do you call it that when it’s fabric, not paint? Anyway, you know what I mean, and I chose to use the matte side as the right side, with the shine on the reverse.

Some sites I looked at claimed cupro as an eco-friendly fabric option, because it uses parts of the cotton plant that might otherwise be discarded and requires a closed-loop production system and non-toxic dyes – but I’m afraid I don’t have the knowledge to assess the truth of those claims. But if it is both lovely and kind, I’d say it’s a definite win.

Making the dress was reasonably straightforwards, though the instructions are less detailed than you get with many independent pattern designers. With only a little head scratching it all came together pretty well however, until I got to the waist tie. img_5173

Not going to lie, I think the issue I have with the waist tie is nothing to do with the design, and everything to do with me being a grumpy old woman. It just didn’t make much sense to me – like Snapchat and using the word ‘sick’ as a compliment. The back waist is defined with a short piece of elastic in a channel, but the front waist is defined by a similar channel with a rope tie, knotted on either side and kind of gathered in the middle. Perhaps the problem was also that I’d already decided to swap in a bias binding ‘ribbon’ for the rope, so what would have been a feature that properly anchored the gathering, just looked a bit droopy and odd (see above, on the stand).

img_5338I spent a good while staring at it, trying it on, and trying to make it work on me but it just looked frumpy. Eventually I realised that it wasn’t going to work for me in the way the pattern intended, but that there are many ways to skin cats, belt dresses etc – so I began to play around with the options.

For new year’s eve, I wore it with the long ‘ribbon’ belt wrapped around several times to create a tie. I experimented on the stand with a kimono-style of belt, like a cummerbund, and then struggled to turn the way that worked as a knotted piece of fabric into something that might work as a belt. img_5171Finally I used a Mimi G article to turn the belt-in-my-mind into an obi belt. I then bought an obi belt in Collectif in Brighton in the January sales (showing in the main photo above), because frankly theirs is a lot neater than mine, and it was in the sale (I also bought some amazing shoes there that are my new favourite things – seriously if you love 1940s/1950s style, they’re having a quite stunning sale until the end of Monday 14th January, so you might want to check it outimg_5339

Debates about my waist definition aside, it’s a lovely dress. The sleeves are particularly nice – the drape of the fabric and the fact that they aren’t ‘closed’ at the bottom makes me feel just a little bit of the elegance I was aiming for. img_5334Obviously I’ll probably just dangle them into my soup, but I liked using the same bias binding (in a beautiful green silk from our trip to Kolkata last summer) to edge the sleeves.

img_5337The back is also quite interesting – it’s open from just above the waist to the hook and eye at the neck. It does call for a bit of thought around underwear – I went for a black slip on new year’s eve, but a backless bra, a camisole or a pretty bra top would also work. Actually, the hook and eye came undone a few times when I wore it at new years’, so I’ve squished the hook a bit – but if that doesn’t work, I might just sew it closed at the neck point as the dress can pull on over my head without undoing it.

Reflections on this make? Well, looking at these photos, most of my reflections are on how much I need a haircut to be honest – and it’s fair to say that an elegant fabric/dress style doesn’t immediately make me elegant, but I’ll take anything that might help. More pertinently, as well as being a new fan of cupro, I’d definitely seek out more patterns from the Maker’s Atelier – they’re unusual but stylish; classic styling with a twist. I feel they are particularly good for people like me – a slightly (ahem) older sewist, who is after a challenge but is nervous about stepping up to full-on tailoring.

Because that’s next month

 

 

Make Nine 2019

As will be obvious to everyone connected to me in any way, much of my life and almost all of my actual sewing is largely unplanned. The moment I commit to a project, it turns it to a task rather than a joy – so staying in the unplanned zone keeps things interesting.

On the other hand, planning is akin to procrastination – so the more I think about a project, plan for it and buy fabric/notions and tools, the better. I can spend hours reading sewing blogs (thank you to everyone who writes one, you feed my obsession in a cost-effective way) and greedily browsing on-line fabric stores. This explains the ever-expanding stash of fabric that I own and the many patterns and magazines that are gathering dust.

I think I’m ready to commit though. I have been looking at the other #Makenine posts, instagram pictures and Facebook threads for Rochelle’s 2019 challenge, and feel inspired to gather nine of the projects I’m mulling for this year – and see whether I make any or all of them by the end of December!

1. Sew Over It – Francine Jacket

This one might be regarded as a bit of a cheat – or at least a bit of a cert. My lovely husband bought me the Sew Over It class to make the Francine jacket as my Christmas present, so by mid-March this one should be complete. Famous last words, perhaps …

2. Helen’s Closet – Blackwood Cardigan

In my last post, I mentioned the navy cardigan I’d been intending to make when I came across the black and white lace ponte. Well, somewhere in my stash that navy jersey should still be lurking, and I definitely need a warm layer in navy to complement several pairs of trousers that look odd with a black top. I like the look of the Blackwood, so this one is definitely on the cards.

3. Victory Patterns – Madeleine Skirt

Ssshhh. I ordered this pattern today, and sent it to Patternsy for printing, so again I feel I’ve committed to this project in a real way. As well as the workshop above, my husband also bought me some – well I don’t know if it’s a heavy chambray or a light denim, but it’s a fabric that I think will work really well with this skirt. I’m not sure if I can pull off the ‘suspenders’ bit (braces in the UK surely?), but I think they’re optional extras. I love the pocket detailing, and a swirly skirt definitely works in my world.

4. Itch to Stitch – Brasov Wrap Top

Again perhaps a cheat. I have actually cut out and started to sew this top, but I’m not in love with it so it’s just lurking there in the pile and has become a task. I’m adding it to my make nine list in the hope that it restarts my mojo for the project. The problem is not one with the pattern which is lovely, but with the fabric which has already faded after its initial wash and I suspect will be disappointing ultimately.

5. Sew Over It – Cowl Dress

I believe I downloaded this dress as a freebie last year, when I joined the Sew Over It pattern insiders. It only goes to show that I shouldn’t do that kind of thing – it’s a lovely dress, but because I didn’t get it for a specific purpose, it’s been lurking as a file on my computer ever since. Here’s hoping that this year it will get its outing. Thinking about it, I’ve got a party in a fortnight that I might need to wear this dress to. Hmmm, motivation!

6. Tilly and the Buttons – Stella Hoodie Dress

Idly browsing through sewing blogs last night, I clicked on this one and actually said out-loud “I need this”. As my snoring husband didn’t respond, I then copied the link and sent it to my eldest daughter who I knew was likely to be awake downstairs. She told me to make it, so if I didn’t it would be letting her down wouldn’t it? So I need to buy the Stretch book don’t I? Just so I don’t let her down …? My self-sacrifice is huge.

7. Sew House 7 – Toaster Sweater

This has been on my mental to-make list since it was released. It’s definitely the kind of top I’d get a lot of wear from, so I just need to find the right fabric, the right weekend, and get the pattern and so on. The usual things.

8. Pauline Alice – Lliria Dress

This one’s a maybe. My lovely mum bought me some beautiful cotton lawn for Christmas that deserves a special make. I think the Lliria (how do you even pronounce that?) might be a good option. Once the fabric is washed, and I can get a good sense of its drape, I’ll try an decide it if this is indeed the right pattern for this special project.

9. Named – Kielo Dress

Wow, I got to nine far more quickly than I’d imagined. So, the Kielo dress has been one that has intrigued me for ages – then when I was on the Sewing Weekender, my lovely neighbour snaffled some lovely dark red heavy jersey with the intention of making herself a Kielo. I was enviously stroking it and she realised she had 6 metres of the stuff (some people were very generous with their donations!) so she gave me half. We figured we would share the images of our finished dresses and I’m pretty sure hers was then complete a week later. Mine – well, let’s hope that 2019 ends my procrastination and gets the job done!

Comfort sewing

Comfort is everything. I sew things I want to wear, and for me that means clothes that fit without constriction, that flatter a body that is likely to eat a hearty lunch, and that move easily between an office job and a home with assorted children, cats and commitments.

That might explain why I chose to spend new year’s day sewing my fourth Sew Over It Heather dress. Fourth. Yes, I can’t believe it either.

This was an impulse sew, and all the better for it. I’d not found the time (really, let’s face it, the motivation) over the Christmas break to get started with a project, but enjoying a quiet soothing day before returning to work on 2nd January, it was a perfect quick sew.

I’ve not been sewing long enough to have many patterns that I’ve made repeatedly – unless we count the TATB Margot pyjama trousers from her first book and actually her Coco top which is a perfect fit for me. Otherwise, though I tend to think I’ll get great value from a pattern by making 12 of them, I usually then get distracted by the next shiny thing. There are so many lovely patterns!

img_6993This impulse sew derived from me searching through my disorganised and overflowing stash for a couple of metres of navy ponte that I knew was in there. I was mulling a cardigan or a dress with it and wanted to see how much I had and what it would tell me it wanted to be (or something like that). I didn’t find the navy, but I found a 2 metre piece of a black and white lace patterned ponte that I’d entirely forgotten I even owned.

My disorganisation is a high price to pay for these moments of serendipity, but as I’m stuck with the former, it’s only right that the latter should bring me such joy.

From initial cutting out to snipping threads from the finished dress was about half a day I guess. A longish half-day because I’m not speedy. I’d adjusted the pattern slightly over the last three makes, mainly adding about 4cm in length (I’m 5’2, so this is an adjustment I almost never have to do – guess my mid-forties self enjoys a slightly longer dress length than the SOI standard).

img_6996

I didn’t have quite enough fabric to cut the neckband on the grain, so used the cross grain – and it’s really the only part of the make that annoys me. It doesn’t quite sit right, and if I had more patience I’d unpick it and do it over. Maybe I will.

<everybody laughs>

Or maybe not. Let’s see if it annoys me still after its first outing – and whether anyone else on the planet would even notice. Except sewists. They would notice of course, but they’d be far too charming to mention it, and insist that it was lying completely flat.

The Heather pattern is a gentle cocoon shape with deep diagonal pockets on the front. Somehow I find it flattering, though logic tells me it shouldn’t be. Something about the intentional apple shape both gives the illusion of the waist bulk being a dress feature (rather than a post-Christmas feature) while at the same time allowing easy movement, capacity for lunch and pockets full of my daily essentials (phone, tissues, glasses etc). If it’s not as flattering as I think it is, please don’t burst that bubble. Sometimes I think that nature designs the failure of our eyesight at just the right rate, and I just hope that my husband is as poorly sighted as I am now.

The verdict for me is a happy one. There’s nothing as soothing in having to return to work on 2nd January as having a new, comfy frock to wear. I spent the last day of my holidays, in my PJs, doing the hobby I love. An excellent start to 2019 – plenty more days like this one please.

Seamwork Almada – sending a fabric hug

Almada gifts
Modelled by Alice and Ellie, my kind, tolerant, slightly silly daughters!

One of the best things about sewing is being about to make totally unique and personal presents for people that you love. A gift that represents your (sometimes literal) blood, sweat and tears, shows that you’ve really thought about the person you’re sewing for, and that you want to give them your time, your care and your creativity.

One of the worst things about sewing is knowing that the gift you’re giving is less polished, more expensive and possibly never to be used/worn, despite the above-mentioned blood, sweat and tears.

As you may have guessed, I’ve spent the last couple of weeks making presents for two of my dearest friends – both of whom have had sad times recently, losing people that they loved. I decided to make them each a kimono, using the Seamwork Almada pattern. It looked like a really interesting pattern, that would hopefully be forgiving given that I wouldn’t be able to measure or fit either garment.

Preparation is key – and as with all PDF patterns, I’d anticipated spending a couple of hours piecing together the print-at-home A4 sheets. However Seamwork has partnered with Patternsy to allow you to easily get the pattern printed and sent to you. I was tempted, but thought it was a bit indulgent – after all, sticking together A4 sheets is not too hard. Then our printer stopped working, and the £6.21 to get it all beautifully printed and sent seemed like a wonderful idea.

I was very impressed with the service from Patternsy and would definitely use it again – I ordered the pattern on a Sunday afternoon, paid by Paypal, and the printed envelope arrived on Tuesday. The tissue it was printed on was flexible but strong, and it was all full colour. Now I just needed the fabric.

I searched in my usual fabric shops and online for some cotton lawn that felt right – I wanted the structure from the lawn rather than an overly slippery and drapey fabric, but also wanted that fluid softness that you get with a nice lawn. I couldn’t find anything that I liked – or maybe just indecision was keeping me from moving forwards. Anyway, the Handmade Fair arrived at Hampton Court while I was trying to make my choice, so being local I felt morally obliged to go and spend some time wandering around investigating the options.IMG_4987

The good news: I did find some beautiful cotton lawn at the Sew Over It stand – buying the Lisa Comfort Elderflower Press in navy and the Busy Blossom (now out of stock), also in navy. The bad news: I then wandered around the fair, looking at beautiful handmade products – and noted hundreds of lovely kimonos, for similar or cheaper prices than I’d just spent on fabric, all expertly finished.

Here’s hoping that my friends decide that it’s the thought that counts …

So, the Almada is a nice pattern to make. After reading some reviews, I made the size medium, but extended the length to the longest size setting, for decency. I made a few miles of bias binding from some beautiful green silk that I bought in India this summer, that co-ordinated well with the colours in the lawn. I’d already decided that I wanted to try Hong Kong binding on the back seam, because it would be seen when it was hanging up – and the pattern also calls for quite a lot of bias binding to finish the edges of the fronts and neckline.

Almada on the stand
You can just about see that there are two kimonos layered here; they lived on my stand like this

It was interesting to be making two kimonos at the same time – not something I’d normally do. It certainly took longer than making one item, but much less than making two separate things, if that makes sense. I’m sure that I learned from sewing different stages on the first one, and that the second time of sewing was sometimes a little more exact – but as I switched which one I was working on first regularly, hopefully the final garments are equally good/not-good.

I was pleased with the Hong-Kong binding – I’m increasingly enjoying the inside of garments looking pretty, and the way it met with the neckline binding was something that gave me a lot of satisfaction. I totally failed to get a picture of it though – sorry. I was also pleased with the way I applied the binding around the front edges – I left a thin edge of the binding showing on the outside, because the green is such a lovely shade.

I suppose my final reflection is that this is a nice pattern, and the fabrics were lovely to work with and I hope they’ll suit my friends. I’m nervous that they’ll be on the big side, but hope that a kimono is a flexible enough piece that they’ll still wear them.

More importantly, now they’re packaged and sent off – I hope that the ‘fabric hug’ that they represent as far as I’m concerned, is the thing they actually receive.

Almada trust pose

At last! A tale of two Etta’s

A year ago, when the Tilly and the Buttons Etta dress was first launched, I decided it wasn’t for me. I liked the classic, elegant look, but when I thought about wearing that kind of woven dress in the office, it seemed too structured (uncomfortable?), fitted and just a little claustrophobic for me. I’ve made many of Tilly’s patterns in the short time I’ve been sewing, but decided this one was a pass for me.

It was a visit to the Great British Sewing Bee event towards the end of 2017 that got me looking at the pattern in person – and saw that on the fabric suggestions Tilly had included ponte di roma and jacquard knits as suitable options.

EttaThis was a whole different thing. An elegant, fifties-ish dress, but in a comfy, forgiving fabric? Hold my drink …

I whizzed through my first Etta some months ago, in a blue-green ponte that I think came from my stash – it certainly wouldn’t be the only piece in that colour-way, as I seem to buy all fabrics that I see in that particular shade. I say ‘whizzed’, but am guessing that  compared to most other people blogging that would equate to a slow crawl. Nonetheless, the systematic process that Tilly’s patterns are so brilliant for, got me relatively quickly to a lovely dress. It wasn’t without mishap however.

I have a tendency to insomnia – it appears to be my body’s unhelpful reaction to most situations, and often feels a bit like I’m harbouring a traitor within. I can’t think of many situations that are improved by a lack of sleep, and it’s cumulative for me. After a run of these bad nights and in the spirit of trying to make my evenings soothing and calm, I decided that I would leave my iPad and sewing blogs downstairs, and instead take up some hand sewing to do in bed while listening to an audio book – I forget which book, but presumably something without high drama or tension. I decided to spend this time putting in the long zip at the back of my Etta dress by hand.

img_4896.jpgWhen I first learned to sew, I put in all my zips by hand. I was frankly frightened of doing them on a sewing machine, and my lime green and blue starter-model had no option to change feet – so hand sewing was the pragmatic way forwards. I found it rather soothing, and in this tired, heading to sleep state I put in the zip over a couple of nights.

On none of those nights did my sleep-deprived brain recognise that the zip was upside down. Don’t get me wrong, it opens at the neck as it should do – but the zipper is on the inside. I can only wear it when my nearest and dearest are available to help me dress and/or change for bed! Clearly I could now remove the zip and put in a new one – but actually this error makes me smile to myself every time I wear it, so I haven’t yet …

Despite being a zip-muppet, I LOVE my blue-green Etta dress. Every time I wear it, I feel a little bit taller, a little bit curvier (in a good way – not so straight up and down) and I feel smart but comfortable. A total win. It’s one of those dresses that makes you feel just a bit more confident, and that in itself usually makes the day a better one.

With such power imbued in a single item, clearly a second dress would be hot off the press. I chose a dark pink ponte this time, and got to work.

Slowly.IMG_4872

It got really warm – heatwave warm.

I didn’t feel like wearing a long sleeve knit dress so it sat, half made, on my dress form for several weeks.

I was distracted by holiday makes – or, in reality, failing to create any holiday makes because I felt guilty about my unfinished Etta.

Then there was the sewing weekender and planning for that.

Bit by bit, it came into being – until finally it was finished.

Some aspects of this dress I like more than the original; some less. It has a zip that I can open and close without assistance, which is a definite advantage. Some elements of the make were smoother for a second go around – the collar sits better, and the kick pleat is neater (aka less mangled by a runaway overlocker). I’m not 100% certain about the colour though – really hoping it’ll grow on me, or I’ll grow into it or something – but it’s quite a bold choice for me.

Conclusions then – if you were put off the Etta – or indeed any structured, fitted, woven dress – because of a need to be comfortable in your clothes, then give a stable knit option a go. I will continue my quest to make classic/vintage-inspired clothes that work with my life, my height and my wish to breathe out and eat puddings. I probably won’t make any more Etta’s, at least not for the time being – because it’s a distinctive dress and a wardrobe only needs so many of one design.

If I did make another though, I hope I wouldn’t make one with lemons on. It’s not that I don’t like Tilly’s styling for this dress – quite the reverse. I basically, unintentionally, seem to have recreated both the dresses on the cover of the pattern pack with my outfits. Minus points for originality and being influenced by what I see! Oh well …

IMG_4875
Seriously, what is going on with my hands here?