Stevie and the Japanese procession

It started with some inspirational fabric and a plan for some holiday sewing.

The fabric was an awesome cotton print, gifted by a wonderful friend who bought it some time ago in Japan. Said friend has been sewing for as long as I’ve known her (30+ years) and has forgotten more than I will ever know about this craft. She’s also kind and generous – she made my wedding dress 20 years ago because I asked her to ….  (I know, I know … in my defence I had no idea what I was asking at the time and now I do I’ve sincerely apologised but am also still delighted with the beautiful dress she made me), so gifting sweet fabric is definitely in keeping with her personality.

IMG_2913The material was a cotton print, but with none of the stiffness you usually get when you buy printed cotton. And what a print! My favourite shade of teal – a really warm, deep shade – with a procession of beautiful ladies dressed in kimonos, carrying parasols and wearing geta (Japanese footwear, somewhere between a clog and a flipflop).

I was given the fabric last summer, but it took a while to decide on the right pattern for it. The ladies process along one edge of the fabric as a border print, so it needed to be a design without darts or pleats, so their walk could be unimpeded. I’d kind of dismissed Stevie when the dress was launched last year by Tilly and the Buttons, but when I went to the Sewing Weekender it seemed that so many of the people I met were wearing/making/both a Stevie dress or top – and they looked lovely, not all hospital-gown-ish as I’d feared. Final encouragement from a sewing-friend-at-work (thank you Vanessa) and I decided that Stevie would be right for this fabric.

I’m sure I’m not the only person who spends more time planning the sewing projects/kit to take on holiday than actually packing real clothes. I planned, resourced and packed for three projects during our 10 days away, but Stevie was the only one that experienced the country air. It was probably something to do with needing a simple, well-structured make (after my wonderful but intense tailoring experience), sewing in the presence of a puppy (who was brilliantly behaved but I was reasonably paranoid about her eating haberdashery that she shouldn’t), and actually spending lovely relaxing time with my extended family, that made this one The One.

The make came together very easily and it would be a great pattern for a sewist at any stage/experience. The instructions are very detailed, with clear photos and hints to guide you through it. Because of the pattern placement I had to be a little creative with piecing – using the crossgrain so that the print went around the hem and not up my side. I cut a straight size 4, which fitted well – as I had expected having made several TATB patterns. img_0333Their block is a good match for my measurements and TATB patterns tend to fit me well. I liked the way that the facing was sewn down (similar to the Bettine pattern) as part of the design, as I don’t like facings that move around when I’m wearing the garment.

The cotton cut easily and was a dream to sew up being stable but still with some drape to it. It took the iron and the interfacing well. I don’t know where in Japan Lisa bought it from, but the same fabric seems to be sold here and I’d highly recommend it. With the print ladies walking around the hem, I had some lovely fabric bits that I couldn’t use elsewhere as they’d have looked odd. kLswTM9mQxKa3qVZaIu6qwOne lady became the pocket and one looks out from the facing on the inside when you undo the bow at the back – one of those secret details you can put into your own makes, and which make me smile.

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Notes for me for future occasions when I make this pattern (and I think there will be a few – it’s a very simple, practical and quick make) – I did a tiny hem but still probably will choose to wear this with capri leggings or jeans rather than with bare legs. On that basis, the pattern might work better for me if extended by an inch or two – not exactly a common pattern adjustment I make and is definitely about what I feel comfortable wearing and not an issue with the pattern. Let’s see, maybe I’ll be brave enough to wear it as is? Also the bow at the back is fine with the ties made from the main fabric but a complementary-coloured ribbon might be nicer and feel more elegant.

Thank you to the lovely friends who made this possible but also to my long-suffering and understanding family – who seem to get that sewing is an important way for me to relax and recharge, and don’t mind giving me the time and space to do so. You’re all diamonds. X

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Sew Over It Francine Jacket – weeks 2 and 3

Francine

Arriving for week two of the Francine workshop, feeling guilty for not having finished the homework, tired from a late night of sewing and early start, and frazzled from an intensive day at work, wasn’t the most auspicious start to our second session. However, the mental re-set that I get from sewing quickly worked its magic, and as I got busy catching up with the more organised members of the group, I felt myself really relax.

img_5740Week two was mainly focused on attaching the collar pieces front jacket facing, using techniques that were certainly new to me to ensure that everything sits ‘right’.  Just thinking about the way that the collar and jacket facing needed to be rolled differently and tacked in place was fascinating – there are so many stages to garments that we wear everyday, without thinking about their construction. Which is even more amazing when you’re a person who tends to think about garment construction in most of her idle moments.

Julie took the time to demonstrate the new techniques, again really explaining clearly why different stages were necessary and how the elements built up towards the finished jacket. I know from reading the words in the written pattern that I’d have really struggled to understand the different stages of the instructions without a handhold, so I’m delighted that I had the opportunity to learn in person.

I began to realise through this second class that I was going to have to make a second Francine soon. Despite my #makenine plans for 2019, it was becoming clear that to really embed the learning from these workshops, I will have to work through all the steps again by myself – without an oracle to consult this time. And the sooner I do it, the more likely I’ll actually remember the things she has told us.

Another element of this week’s class focused on pressing, and using steam to manipulate and set the wool fabrics we were working with. I used a tailor’s ham and clappers for the first time (more kit, dear family members, that will always be appreciated re future birthday/Christmas/’just because’ gifts) and gained a much better understanding of the way that this kind of fabric responds to the heat and steam.

Once again the evening flew by, with lovely chat with the other sewists, GBSB gossip, carrot cake and tea, and all too soon Julie was gathering us to explain our homework – mainly the lining that would need to be prepped for next time.

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This time around, I had much more time to do my homework – and realising that I’m much happier sewing when there isn’t a clock counting down next to my head, I took my time over the weekend to cut and stitch the lining.After working with the lovely wool coating, it was a bit of a transition to be using slippery lining fabric (with a broken and ridiculously blunt rotary cutter to boor), but it all worked reasonably well. We also had to set in the sleeves, tacking them in position so that Julie could check them before we stitched them in properly.

Arriving on Wednesday for our final class, it was clear that there was still a lot to do. img_5737After our sleeves were approved and carefully stitched in place, the majority of the class was spent learning and applying skills in putting in sleeve head wadding and shoulder pads. It was amazing to directly see the difference that shoulder pads made – the lovely ones that Sew Over It had sourced for us were a far cry from the 1980s beasts that spring to mind when I think about shoulder pads, and the gentle way that they raised the jacket and improved the way it hung on me was immediately obvious. Time consuming for sure, but definitely worth while.

Putting in the lining was next, and again it transformed the jacket – you could really ‘see’ the garment it would (hopefully) become. Again, the construction was img_5612fascinating – the additional fabric in the lining to ensure it can move easily when you’re taking it on and off, and the way it all comes together when you finally join it to the main fabric.

Each class in the workshop series is three hours long, from 6:30 to 9:30pm – which after a full day at work is pretty tiring. Our last class didn’t finish until 10pm (thank you so much for giving up your time for us) because Julie wanted to make sure that we were all clear on the instructions for the final elements of construction. img_5739There are lots of hand sewing elements that are small but important – joining the lining at key points to the main fabric, and finishing the hems cleanly and accurately. There simply wasn’t time for us to finish everything in the class.

Though it seemed like there was a huge amount to do when I got home, each stage was quickly finished. Well, I say each stage – it’s now nearly a month since the class finished, and my jacket is still sans button holes and buttons. One of the suggestions in class was to take our jackets to a specialist shop in Berwick Street for the button holes – on the basis that it would be truly heartbreaking to get this far with a jacket and then to make a mess of the button holes which would be so very obvious. I decided this was excellent advice, but being me – I’ve just not found the time to actually make it there yet. You can tell I’ve given up to a certain extent now, as this blog post has been waiting for all the intervening time for me to get this done, and it’s clear it won’t be soon, so here you are. In fairness I’ve been wearing the jacket anyway – realising that I almost never do up buttons on a jacket like this.

img_5747.jpgOne adjustment that became necessary quickly was where I’d managed to sew the lining badly in one sleeve, which was pulling the arm shape so it couldn’t hang straight.That one was quickly unpicked, and sadly now doesn’t look as beautiful on the inside as it had done, but no matter. Otherwise I’m so very pleased with it.

Reflecting on the workshop series now – it is an experience I would definitely recommend. The sense of achievement in doing something so completely out of my comfort zone is immense, and I’ve become fascinated with tailoring methods – very keen to learn more (maybe a waistcoat for my husband next, inspired by the GBSB). As you’ll have gleaned, the teaching was supportive, clear and pragmatic – Julie knows her stuff, and she knows how to communicate it. She’s incredibly patient and though I’m sure we tested that to the limit, you really felt how much she wanted us all to achieve.

The small group of sewists in the class (there were six of us, which is the maximum class size) were also brilliant company, and I’m looking forward to seeing their jackets on social media. I already miss our Wednesday evenings (though it is nice not to be quite so tired on Thursdays).

The only suggestion I’d make about the classes would be for more! Four weeks, rather than three, would be perfect. There was so much we didn’t get the chance to do with supervision. We spent a lot of week one cutting out our patterns and fabrics, and it was brilliant to have toiles available so that you could ensure you were cutting out the right size, and adjusting it in the way that would fit your body – before you cut any fabric. Assuming that’s not financially viable to do four weeks, perhaps class participants could be asked to come in at another time before the class started to try on the toiles in store and then at least come with the pattern pieces cut out – and if the sizing looked good, to cut the fabric pieces too. It was all valuable, but if I could choose between having Julie on hand for cutting out fabric or doing the final elements of construction, I’d prefer the latter.

Other than wanting more of it, I’ve no negatives at all to share about the class. I heartily recommend it, and will certainly be back for more classes at Sew Over It in the future. Thank you!

 

Sew Over It Francine Jacket – week one

My lovely husband came up trumps with my Christmas present this year, with a three-evening workshop at #Sewoverit to complete the #Francine tailored jacket.

I’d done one of their courses in the past – the #ultimatetrousers pattern, which was the first group sewing course I did, and aside from a workshop at the Sewing Bee live exhibition last year, still the only one. There’s so much you can learn by yourself when sewing – and I must admit that one of the things I like best about this hobby is working by myself to be creative – problem solving when things go wrong and finding my own way through things (obviously with the expertise of the sewing community via the internet to support me).

Undeniably however, there are plenty of times when having an expert to guide you makes a real difference. I’d certainly found that with trousers – having someone to help you fit trousers on yourself is a wonderful help. One of the excellent things about the #sewoverit classes is that they have toiles of their patterns made up in all of the size range – so you can try on the size that best matches your measurements, and then see how you might need to adjust your pattern pieces to fit the quirks of your body shape. Being 5’2”, RTW trousers have NEVER fitted right, so the expertise of the workshop leader (Julie Johnston – more on her in a moment) in helping to identify the ways to make the pattern fit me correctly was a huge help.

The first week of the #Francine workshop similarly involved us trying on the toiles of the jacket and seeing where we might want to adjust things. Being short of leg but kind of average on top (a bit on the short side, but not excessively, not a lot of bust but still in range), I matched the size 12 reasonably well. Julie noted that I might need a slight sway back adjustment, but that would be best done at the end as she wasn’t convinced it would be necessary.

The rest of week one was spent cutting out our pattern pieces and main fabric.

We had all had to source and bring the main fabric and lining, and this was a decision I’d agonised over from Christmas through to the end of February. I have a few pairs of navy/dark blue trousers with no jacket that particularly went with them – so I wanted a fabric that would contrast well with navy, but not necessarily ‘match’. I’d ordered samples from Abakhan, Truro Fabrics, Croft Mill, Minerva Crafts and Dragonfly fabrics and they were all lovely. Even with the sample pieces in my hands however, I found it hard to assess the drape and weight and to really understand how the fabric would work for this pattern – mainly I think because I’ve never attempted anything like a tailored jacket in the past.

Herringbone fabricIn the end, I took a walk up to the main branch of Fabrics Galore in Battersea one lunch break, and found myself the fabric of my dreams. It is dark grey wool coating fabric, in a herringbone design with flecks of blue. I have tried and failed to photograph this accurately, so you’ll just have to trust me on it. [What is it about photographing fabric that is so frustrating – is it just the quality of a mobile phone camera, or settings that try to adjust the colours? It’s much darker than the image here.] I thought I’d buy 2.5 metres so that I could also make a skirt in the same fabric, but found when I got to the till that it was the end of the roll – and that in fact, while they had exactly the right amount in theory, the end had been cut on a slant – so my 1.6m on one side was actually 1.5m on the other. I crossed my fingers and bought the fabric, along with a beautiful green lining fabric.

IMG_5512Inevitably, that 10cm difference on one side made working out a lay plan for the pattern an intricate game of tetris, but with Julie’s help I finally managed it. The challenging bit was in laying out the collar piece so that the herringbone would be aligned on both sides – something that’s not a problem if you don’t have a fabric with a pattern, but involves a bit of head-scratching if you do. It’s fair to say that it ended up a very efficient use of the fabric, and my scraps in the herringbone were minimal.

The three-hour class went by in a flash. While we worked on cutting out our pieces, it was lovely to talk to the other sewists present – it’s not often that you get to commune with fellow sewing people in the flesh, and everyone was interesting and shared the same passion for garment making. We also got to eat cake, drink tea and stroke the wonderful array of fabrics and haberdashery in the Sew Over It store. What’s not to love?

I don’t know if Julie runs all the Sew Over It courses, but her calm and practical approach is very reassuring. She knows the patterns inside out, and her explanations don’t just tell you what to do but also help to contextualise the instructions – so you’re not just learning what to do, but also why. It makes such a difference when you’re branching outside your comfort zone, like this class. She’s exceedingly patient, and you get the feeling that she’s rarely unable to answer a question from her class participants. I’d highly recommend her classes, and I’m sure that Lisa and the team at Sew Over It value her highly.

list of piecesBefore we found ourselves back out in Islington to make our way home, we had clear instructions from Julie about our homework. This involved finishing cutting out all the pieces (the first time I’ve had a pattern with 20 separate paper pattern pieces resulting in (I think) 51 different pieces to be cut out in the three fabrics), including the interfacing pieces. We had to apply the 23 pieces of interfacing to the main fabric, and join up the main straight seams of the jacket.

The advice was that this was about 4 hours of work. Ha! Maybe for efficient sewists, but not for me.

It was unfortunate that I had a long booked holiday with my book club to Berlin at the weekend (for the record, I belong to the best book club in the world, which involves an annual city break with a loose book tie-in to justify the trip), so my available sewing time was limited. The class was on Wednesday, I didn’t get started on Thursday and was away Friday to Sunday. Monday night we had commitments so it was Tuesday night when I finished work that I was finally able to make a start. “It’ll be fine” I told myself – I could start around 6:30 and figured I would be finished around 10:30.

Interfaced pieceWe had been advised to purchase some woven tailoring interfacing at Sew Over It, rather than the slightly crunchy cheaper products I’ve bought in the past. Damn it but now I’m spoiled for life! I found the tailoring interfacing so much more accurate to cut, and I love the way that it joined with the fabric to make it thicker without changing its drape and movement. It combined well with my fabric, and the iron-application was satisfying and quite therapeutic.

Once more that evening I was reminded that I am not a speedy sewist. As I’ve said before, I don’t consider that a bad thing – I enjoy taking my time with the process, and particularly with a jacket like this, I wanted to make sure I worked carefully and accurately. Obviously I also had to eat dinner, at least listen to the Sewing Bee and interact with my family, so it was 11:30pm by the time I made it to bed. My homework was not quite complete, but it was close and I was VERY excited to be going back for week 2.

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More soon ….

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.

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!