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FRESH IDEAS WITH FABRIC This month we’re channelling the hygge vibe. Hygge is a Danish and Norwegian word used to describe a mood that combines being cosy, comfortable and content. With that in mind, we’re spending more time in front of the sewing machine, indulging in some well-deserved ‘me time’. Let Scandinavian style effortlessly influence your wardrobe and your home this season with cosy jumpers, chunky felt storage tubs and luxurious faux fur accessories. Pop the kettle on, it’s time to hibernate and get sewing.
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ius r r u x e lu yu Makhins fr 18 cus home, p ISSUE FIFTY
FRESH IDEAS WITH FABRIC
CONTENTS
ew h Jumpere Jodie , p32
P18 SCANDI HOMEWARES
grEat pAtterNs foR you
how To...
18 SCANDI HOMEWARES
40 WORKSHOP: USING INTERFACING
32 PATTERN: THE JODIE SET
Everything you need to know about
42 PATTERN: THE CRESSIDA SKIRT
using interfacing and the different
48 BAG: METALLIC CLUTCH
types available for your projects
56 TRANSFORM: BLANKET CAPE
59 EMBROIDRERY: EYELET STITCH
61 QUICK FIX: SEQUIN COLLAR
Learn the technique and make a sweet
62 REFASHION: SWEATSHIRT
drawstring storage pouch
66 OILCLOTH STORAGE BAGS
89 SEWING GUIDE
70 TOY: HEDGEHOG CUSHION
Tips, techniques and
73 FABRIC BACKGAMMON GAME
a glossary
82 PATCHWORK PLACEMATS 87 UPCYCLE: COFFEE SACK BAG
52
et iNspirEd to refaShion old lothEs inTo neW favOuritEs!
Apliqu hedgehog é a cute the kids, toy fr p70
All tHe feelS
48
to win! EmbRoIdeRy TraNsFers, FabRics and ThrEads!
This year, I'm embracing winter and all it has to offer when it comess to seasonal sewing! I'm adding luxury metallics to my party outfits (p48), cosying up with Scandi-style faux fur u h homewares (a trend I've been swooning over for a while, p18) aand setting the table for winter ffeasts (p82). We're also looking in nto the art of refashioning and the benefits that recycling our clothes has on our world – read more on p52. Feeling inspired? Sew a patchwork sweater (p62) and transform an old blanket i t a cape (p56) into ( 56) − cleve l r, huh?
Charlie Moorby Moorby, Editor
Your chance to win £410 worth of prizes p from Crafter's Cra Companion and Madeiraa.
Turn to p14
82 9 PINBOARD: Ideas, events, new fabric 14 WIN: £410 WORTH OF PRIZES 31 PIN UP: STOFF & STIL MITTENS 39 PIN UP: BONUS JUMPER DRESS 46 COLUMN: JENNIFER LAUREN 52 FEATURE: REFASHIONING 78 PROFILE: MINKI KIM 85 PIN UP: QUILT INSPIRATION 97 COMING UP NEXT MONTH 98 MY FAVOURITE THING
S
N PRIZE WI
for s! ppLiqu
ING SEW 10 £4
PluSh e toy
FRESH
RIC
ISSUE F FTY
9 NEW LOOKS!
Easy-sew
FOR WINTER IN SIZES 6-20
d y ScaRf + CluTch bag
+ SweAtShiRt
MAKE IT! Blanket cape Giant pouffe Sequin collar
s
Makk f r yyur ho m!
homewares + accessories chwork Sewing with oilcloth Appliqué Using interfacing
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CONTRIBUTORS A big thank you to this talented lot...
FRESH IDEAS WITH FABRIC
EDITOR Charlie Moorby SENIOR ART EDITOR Lisa Jones PRODUCTION EDITOR Michelle Grady TECHNICAL EDITOR Roisin McKenna DIGITAL EDITOR Zoe Williams PHOTOGRAPHY Philip Sowels and Jesse Wild
Call 0117 300 8206 SENIOR ADVERTISING MANAGER Penny Stokes SENIOR SALES EXECUTIVE Tiffany Jackson CLIENT PARTNERSHIP MANAGER Beckie Pring
s will and undieay!” s J P e d a “Handm brighten your d always
“I’ve always loved making, learning, and teaching.”
SUBSCRIPTIONS DIRECTOR Jacky Perales Morris DIRECT MARKETING EXECUTIVE Lily Nguyen HEAD OF NEWSTRADE MARKETING Natalie Shearer NEWSTRADE MARKETING MANAGER Helen Seymour Paul Torre, Karen Flannigan
JENNIFER LAUREN
LISA LAM
Jennifer designs modern patterns that nod to classic vintage attire for her brand Jennifer Lauren Handmade, with beautiful details and a gorgeous it. Make her Cressida Skirt on page 42, and read about her maternity sewing plans on page 46.
Lisa designs sewing patterns and kits and runs an online bag-making supplies shop, www.uhandbag.com. She’s also the author of two bagmaking books, and a guest designer on Sewing Quarter. Sew her chic metallic clutch on page 48.
U JUNIOR PRODUCTION COORDINATOR Lily Owens Crossman PRODUCTION MANAGER Sîan Rodgers / Emma McGuinness PRODUCTION DIRECTOR Sarah Powell
DIRECTOR OF INTERNATIONAL LICENSING & SYNDICATION MANAGER Tim Hudson tim.hudson@immediate.co.uk INTERNATIONAL PARTNERS MANAGER Anna Brown anna.brown@immediate.co.uk
PUBLISHER Liz Taylor CHIEF EXECUTIVE OFFICER Tom Bureau GROUP MANAGING DIRECTOR Andrew Gabriel MANAGING DIRECTOR, BRISTOL Andy Marshall
FRONTLINE Call +44 (0)1733 555161
BY WILLIAM GIBBONS
“You can draw anything you want with a little bit of practise.”
“Discarded clothes and tex tiles have so much sewing po tential.”
MINKI KIM
PORTIA LAWRIE
Minki is known for her ‘sewing illustration’ – turning sketches into stitches. She’s the author of two sewing books, Sew Illustrated and Diary in Stitches and her third is due out next year. Find out what inspires her stitched artwork on page 78.
Blogger and regular Simply Sewing contributor Portia is the creator of the annual online sewing challenge, The Refashioners. Find out more about it in our refashioning feature on page 52, and try her colour-block sweatshirt update on page 62.
EDITORIAL TEAM simplysewing@immediate.co.uk SUBSCRIPTIONS TEAM simplysewing@buysubscriptions.com 03330 162 149
FRIDAY 28TH DECEMBER 2018 No gift included? Ask your newsagent. Covergift may be unavailable overseas.
OTHER CONTRIBUTORS Sarah Dawson, Kate Brookes, R&B Designs, Jessica Entwistle, The Fold Line, Sarah Gane, Debbie von Grabler-Crozier, Mollie Johanson, Mira Musank, The New Craft House, Zoë Patching, Rebecca Reid, Lana Red Studio, Angela Umpleby, Jen Walker, Charlie Wensley Special thanks to: Annelise Brant, Nicky Gotobed and Carolyn Bunt
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IDEAS
INSPIRATION
ACCESSORIES
WEBSITES
EVENTS
STUFF
BLOOMING NORA From the bloggers’ fave Cleo pinafore to the cosy Coco top, Tilly is our go-to for when we want to fill our everyday wardrobes with me-made joy, so we’re firing up the sewing machine ready for our next Tilly pattern fix! Her new Nora pattern is a modern sweater with a boxy, slouchy fit and three variations, including a summer tee, and the Ness is a classic fly-front skirt with denim-inspired design details. Find them at shop.tillyandthebuttons.com
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STITCHED PETALS Jazz up a jacket, W
Easy Chic The pride we take in making clothes we love to wear every day is what keeps our sewing machine whirring, and the Hughes Dress by Friday Pattern Company is the perfect easywear all-year-round dress. We love its oh-soflattering princess seams and lace-up back detail. www.fridaypatterncompany.com
pretty up a pair of jeans or beautify a favourite bag with colourful stitching – it’s easy with Wool and the Gang’s new In Bloom kit, with a variety of sweet floral motifs. Included with the kit are two sheets of magic paper (just iron it on, stitch and rinse the paper away when you’re done – magic!), six DMC Mouliné threads, two sewing needles and an easy-to-follow stitching guide. Kit £20 from www.wool andthegang.com
BUTTON SWOON Our haberdashery stash is the prettiest it’s ever been thanks to these beautiful buttons from Whim Wham. This small family business makes them by hand in Stoke-on-Trent, UK. Each one is handcrafted from fine china, hand-painted, and, finally, hand-lustred for a beautiful iridescent sheen – add a set to your memade button-up blouses and cuffs for the loveliest of finishing touches. Find them at www.whimwhambuttons.com
CLASSIC LIBERTY Hang up the bunting and grab a glass of fizz – there's a very imporant milestone to celebrate! Liberty's iconic classic prints have been gracing the shelves (and our fabric stash) for 40 years, and to mark the occasion the most popular of these are available in must-have new colours at Alice Caroline from 1st January 2019. "I’m delighted to see Mitsi back as she’s one of my absolute favourites," says owner Alice Garrett. "There’s also a pretty and unusual colourway of Emma and Georgina; the Edenham colours are fresh and exciting; and, of course, I adore the pink Thorpe. I think this will excite Liberty lovers across the globe.” Visit www.alicecaroline.co.uk
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Start the New Year by filling your stash with classic Liberty prints from Alice Caroline.
Pinboard
SEW KRAFT-TEX BAGS Betsy La Honta and Gailen Runge (£22.99, Stash Books) Discover a new material with this book of stylish bags made with kraft-tex, a paper which wears like leather but sews (and washes) like fabric. Inside you'll find 17 projects for every skill level, including tool rolls, craft storage, occasion clutches and everyday tote bags. Looks like we've found a new fabric to add to our stash! www.ctpub.com/stash-books
mini profile PAPERCUTTS One of the many joys of embroidery is how tactile it is, not just in the stitching of it but in the finished piece too – it's impossible to resist reaching out to touch it, a simple pleasure that continually inspires Gemma Cutts, the maker behind the Papercutts collection of stitched accessories. “One of the most important things for me about embroidery is how it inspires touch,” says Gemma. “I can’t help but feel the stitches under my fingers, and by using embroidery on items for the everyday that joy becomes part of your daily life.” Coin purses, patches, clutches, make-up bags, blankets and cushions are all machineembroidered with Gemma’s original designs, from pineapples to peacock feathers. She realised the creative potential of digital embroidery while studying at Manchester Metropolitan University. “I discovered how to turn my drawings into stitch, and I loved how clean yet tactile the results were. I went on to work for design studios in London and New York before exploring other careers, after which I returned to my first love, embroidery.” The road to finally launching her own brand wasn’t an easy one, though: “Nobody tells you how much the amazing machines you learn on can cost, so it takes time to get them back into your life! A friend loaned me the money to invest in a six needle embroidery machine about five years ago and I was finally able to get stitching in the way I loved at university.”
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Her design process starts with drawing, “and, more often than not, a print from the drawing. When I am making my lino prints, the process helps me define which areas will be stitched, and what kind of stitch as well. Some designs have come from special requests (like the pineapples or bees) and have proved so popular they become part of the collection. I am usually started off on an idea by colour – tiles, chalets on a mountain side, Japanese embroidered kimonos – and these percolate round my brain before I sit down to draw.” Her next step, she says, is “to explore selling more of my work to retailers so I can expand the business, which is so exciting as there are so many fantastic independent retailers out there who are supportive to designer-makers like me.” Ultimately, though, she simply hopes her designs will be treasured by their owners. “Textiles are underrated in their value; I still remember the fabrics I grew up with, and that’s the kind of connection I want to pass on with my collection. They are heirloom pieces, designed to last, and made to bring joy.” See more at www.papercutts.com
“I discovered how to turn drawings into stitch, and loved how clean yet tactile the results were."
QUILT BIG Jemima Flendt (£19, Krause Publications) Winter nights and warm, super-size quilts are the perfect match, and we'll be sewing our own jumbo designs with Jemima Flendt's beginnerfriendly blocks. There's a step-by-step guide to scaling up traditional blocks and 17 bigand-bold quilt designs to inspire you, plus 20 blocks to mix and match to create your own statement quilts. www.krausebooks.com
PIN PALS Carrie Nelson (£17, That Patchwork Place) Everything is cuter in miniature, including patchwork! So add some small-scale projects to your list with these sweet pincushions – 40, to be exact. They're a great way to practise techniques such as quarter and half square triangles and strip piecing, and make lovely gifts for crafty pals, too. www.martingale-pub.com
SEW EMOJI Gailen Runge (£14.99, C&T Publishing) Say it with a (fabric) emoji with these novelty quilts that will amuse the young and young-at-heart alike. Learn to sew 35 popular emojis and use them to create four home makes to gift to your favourite phone addict (or to keep for yourself!) – a twin-size quilt, throw pillows, pillowcase and a bolster. The book also includes 60 facial features to experiment with, with suggestions for 30 additional emoji faces. www.ctpub.com
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Pinboard PUREAND SIMPLE How to accessorise W
a me-made outfit? With sewing-themed accessories, of course! We love the minimal look of Neta Hilel's wrap-around needle rings, which come in 14k gold and sterling silver and, she says, are "inspired by those with a creative spark, who love to make and love to wear their passion on their sleeve – or, in this case, around their finger!" Obviously, we'd have to treat ourselves to the matching necklace, too... From £60, www. netahilel.etsy.com
WinTer WonDers Whether your next project is a casual sweatshirt or a showstopping frock, Simplicity’s winter pattern collection has you covered. Try pattern-hacking with the 8700 utility jacket, sew a swishy skirt with 8743’s pleated style, or even a cute apron as a gift for a little one (8712). Go to www.sewdirect. com – now with Simplicity, New Look, McCall’s, Butterick, Vogue Patterns, Kwik Sew and Burda Style all in one place!
3 of the best GLAM ROCK Get your glitter on in kaleidoscopic style with statement sparkles in a rainbow of shades. 1. If you can't dress like a human glitter ball at this time of year, then when can you? This jazzy number is perfect for no-effort party attire – just add black jeans and heels. £55, www.oliverbonas.com 2. Add a sprinkling of (Ziggy) stardust to your home with these glam rock-inspired bedazzled cushions. Now, where did we put our platform boots...? From £86 each, www.janconstantine.com 3. This intricate Pop Art purse, covered in thousands of sequins and beads, is handmade by a small Fair Trade supplier in Dehli. £26.50, www.iansnow.com
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WILDTHING Be it in our fabric stash or in our home, we'll take any opportunity to fill our lives with Liberty fabrics! And now there's a new print for us to get our hands on, designed in collaboration with the Natural History Museum in celebration of its Wildlife Photographer of the Year exhibition. With leopards, tigers, monkeys and toucans amongst tropical fronds, the Devans Jungle print is available on kitchen accessories and more. Roarsome! www.nhmshop.co.uk
Pinboard Pyjama party There ain't no party like a pyjama party! Cosy up your sewing list with these comfy PJ patterns. 238 ®
238
LE SMOKING JACKET
THE FAB FOUR Megan Nielsen is helping us sew our way to a dream capsule wardrobe with her four new patterns – the Dawn Jeans, with straight leg, wide, tapered and shorts options; the Wattle Skirt's three classic styles; the Jarrah Sweater; and the floaty Floreat dress and top. Cancel all plans – these just got bumped to the top of our sewing list! www.megannielsen.com
DELUXE LOUNGING Throw back to the glamorous nightwear of the 1920s and 1930s with this vintageinspired robe from www.folkwear.com CHIC SET Level up your skills with The Piccadilly Pyjamas, with two styles to make, bias binding details and a button closure, £14 from www. sewingquarter.com
out & about
stAsh hAppy Online sewing community The Fold Line is already our go-to for inspiration, pattern reviews and chatting all things sewing with like-minded makers, and now we can top up our pattern supply there, too! Their brand-new shop stocks a huge selection of patterns from both independent designers and commercial brands, showcasing the best of pattern design from around the world, with PDF and paper formats available and worldwide shipping. Hurrah! Browse the range at www.thefoldline.com
SKILLS, SHOWS & EVENTS 17 JANUARY-7 FEBRUARY 2019 Learn to Make a Coco Top or Dress. Great Denham Community Hall, Bedford. Make a Tilly and the Buttons' Coco at this friendly beginner class. www.sewme-wearme.com
FAMILY VALUES Family movie nights just got comfier with this fun onesie (3244) for all ages – made in matching fabrics, of course! £11.99, www.jalie.com
18-20 JANUARY 2019
PIPED PRETTY Upgrade your loungewear look in the Tofino trouser – the piping makes them extra-special to sew, and to wear. www.sewaholic patterns.com
Newark Quilt Show. Newark Showground. See quilt displays from well-known quilters and textile artists, take a workshop and stock up on supplies. www.grosvenorshows.co.uk
31 JANUARY-28 FEBRUARY 2019 Draft your own sewing patterns. The Thrifty Studio, London. Draft a personalised bodice and skirt pattern block on this five-session course. www.thethriftystitcher.co.uk
2 FEBRUARY-14 JULY 2019
Discover a new place to shop for patterns with The Fold Line's online store (as if we needed an excuse!).
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Christian Dior: Designer of Dreams. V&A, London. Get inspired by one of the 20th Century’s most influential couturiers, with garments, sketches and photos spanning from 1948 to the present day. www.vam.ac.uk
KEEP IT SIMPLE With only three pattern pieces, you'll have a drawer full of cosy Ultimate Pyjamas sewn up before you know it! PDF £7.50, www. sewoverit.co.uk
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win threads worth £275 Enter to be in with a chance of winning a palette of over 160 spools of quality Madeira threads, worth £275! hen it comes to threads, you can never have too many, right? Well, how’s this for a collection to swoon over? This fantastic competition from Madeira gives one lucky reader the chance to win this immense palette of over 160 spools of thread − in every colour you could ever imagine. You’ll find threads in Metallic, Rayon, Polyneon, Polyneon Multicolour, Egyptian Cotton, Cotona and Polyester in this collection − in a range of 200m and 400m reels. Plus, there’s even an 18 spool set of Madeira’s famous Supertwist Metallic – an exclusive ‘effect thread’ used by famous fashion designers and fashion houses all over the world. This collection is every sewist’s dream! To win this amazing prize bundle (featuring all the thread types you’ll need, for every sewing project you can think of!), enter today at www.simplysewingmag.com, and see more of Madeira’s thread collections at www.madeira.de
crafter’s companion prizes Enter to win embroidery transfers, threads and fabrics worth over £135! eeping your sewing stash full of exciting and new products to inspire your next project is easy when you’ve got Crafter’s Companion’s fantastic shop to browse through. To kick-start your revitalised stash, we’ve got a full set of Threaders Embroidery Transfer Sheets (in four different themes) and their accompanying stranded cotton packs. Plus, there’s also a bundle of their brand-new Threaders Tokyo Blue fabrics (six metres in total!) and a six-piece thread box to match. Enter today at www.simplysewingmag.com and get your sewing supplies fix over at www.crafterscompanion.co.uk
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Scandi home
comfort zone Get your cosy on with home accessories in the softest faux fur for a luxe twist on Scandi style. Designers: JESSICA ENTWISTLE Styling: LISA JONES Photography: JESSE WILD & PHILIP SOWELS
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HygGe VibEs The Danish concept of hygge is all about contentment, cosiness and enjoying the simple things in life – and we're feeling very contented indeed after sewing up this set of home accessories in luxe faux furs from Stoff & Stil (www. stoffstil.co.uk). Try mixing different fabric weights, textures and prints for a contemporary take on the Scandi look (and then settle down for some well-earned hygge time!).
CusHion Trio Creating a comfy living space all starts with the sofa – and the more cushions the better! So turn up the snuggle factor with our set of three cushion styles to make. If you've never sewn with faux fur fabric before, the plain circle cushion is the perfect place to start – then try another with a pom pom trim! And, to complete the set, make a cotton cushion extra-special with gathers and a self-covered button detail.
Scandi home
pom pom ThrOw What's better than cosying up under a throw? Cosying up under a throw decorated with jumbo pom poms! This blanket is not only a dream to nap under (see what we did there?), but also makes it easy to switch up the look of your space thanks to its double-sided design.
Felt StoRage tub From relaxing hand-stitching to chunky knitting projects, winter crafts are the best crafts – and this handy felt tub is a stylish storage solution for our inprogress projects. Made from sturdy wool felt and finished with durable leather straps, it'd hold lots of copies of your favourite sewing magazine, too...
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scandi home
pom pom ScaRf Take hygge home comforts with you on your winter adventures with a snug scarf. This simple project is fab for using up those precious faux fur fabric offcuts, not to mention adding a touch of Scandi cool to your outfit. And it'd make a speedy gift for a stylish friend, too.
Faux fur PouFfe Sorry, sofa: this pouffe is now the most coveted spot on family nights in! Made up of six faux fur segments, it's easier to sew together than you might think; using a walking foot will help you to stitch through the thick fabric layers. And it's not just for faux fur – think tactile fabrics like velvet, corduroy or even faux suede.
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scandi home 01
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Cushion Trio
pom pom cushion
faux fur cushion
YOU WILL NEED
CUTTING OUT
CUTTING OUT
For all cushions: Q Round cushion pad: 40cm (16in) Q Matching thread Q Erasable pen Q Basic sewing kit Pom pom cushion: Q Fabric: 45x90cm (18x36in) Q Yarn: 2 x 50g balls Q Pom pom maker: 45mm Faux fur cushion: Q Fabric: 45x90cm (18x36in) Gathered cushion: Q Fabric: 50x130cm (20x51in) Q Self-covered buttons: 2 x 38mm (1½in) Q Long needle
Step one Draw a 43cm (17in) circle on the paper. Step two Use the template to cut one large 43cm (17in) circle from the fabric. Fold the paper in half and cut out two half circles from the fabric, adding a 1cm (3⁄8in) seam allowance on the straight edges.
Step one Follow the cutting out steps one and two as for the pom pom cushion. Trim down the edge of the fur by 1cm (3⁄8in) all the way around. 03
MAKING THE POM POMS Step one Make 24 pom poms. Step two Sew the pom poms to the outer edge of the fabric circle on the right side (RS), spreading them out equally. Leave 2cm (¾in) of yarn from the pom pom to the edge of the cushion for each pom pom. This will make the cushion uniform and the pom poms easier to sew between the cushion fabric sandwich. 01
ASSEMBLING THE CUSHION FABRICS USED Fake polar fox fur light grey/dark brown. Fake fur light powder. Both from www.stoffstil.co.uk Chads Jamboree. Ref: AGFLAM44282. From Lagom by Art Gallery Fabrics. NOTE Use a 1cm (3⁄8in) seam allowance.
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Step one Take the two fabric half circles and sew them RS together along the straight edge, but leaving a large turning gap so the cushion pad will fit inside. Step two Pin the front and back RS together. 02 Step three Sew together all the way around. Turn RS out through the turning gap. Step four Place the cushion pad inside the cushion outer. Close the turning gap with ladder stitches.
ASSEMBLING THE CUSHION It is recommended to sew with a longer stitch length of 3-4mm when working with faux fur. Step one Assemble in the same way as the pom pom cushion, without adding the pom poms. 04
gathered cushion CUTTING OUT Step one Cut a rectangle of fabric measuring 43x130cm (17x51in). Step two Sew together along the short edges. Press the seam open.
GATHERING THE CUSHION Step one Cover the two covered buttons with the excess fabric. 05 Step two Thread your long needle with a long strand of thread, doubled then knotted. Step three Gather one of the circular edges with a 1cm (3⁄8in) seam allowance with gathers every 2-3cm (¾x1¼in). Pull the gathers tight. 06
scandi home 03
04
07
08
Step four Tie off the gathers by sewing through them a few times to secure.
Mix and match fabric textures and prints for a stylish cushion stack.
ASSEMBLING THE CUSHION Step one Mark the central points on both sides of the round cushion pad, using the erasable pen or tailor's chalk. Step two Place the cushion pad inside the cushion outer so that the gathers are central and spread out evenly. Step three Thread the long needle with double thread and knot at the end. Sew the cushion outer gathers through the centre of the cushion pad, going backwards and forwards a few times to secure the fabric. 07 Step four Sew one of the covered buttons over the gathered side of the cushion, so that the button is central and covers the gathers. 08 Step five Repeat steps for the other side of the cushion to finish.
TtIPr:oller handy
in Keep a l e sewing with u'r ! when yo t can be messy -i r u f x u fa Subscribe at www.simplysewingmag.com
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scandi home 01
02
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04
Pouffe YOU WILL NEED Q Faux fur: 2mx145cm (2¼x57in) Q Lining fabric: 2mx145cm (2¼x57in) Q Polystyrene bean bag pellets: 2.5ft cubed Q Paper: 85x45cm (331⁄8x17¾in) Q Walking foot (optional) Q Erasable pen Q Matching thread Q Basic sewing kit FABRICS USED Fake polar fox fur light grey/dark brown. From www.stoffstil.co.uk NOTES Q Use a 1cm (3⁄8in) seam allowance. Q A walking foot will make stitching thick fabric easier. Q Download the templates from www. simplysewingmag.com/downloads
CUTTING OUT Step one Download, print and cut out the templates. Trace the template and cut out. Step two From the faux fur cut: Bean bag sections: Six using the template, making sure the fur nap runs along the length and not the width. Step three From the lining fabric cut: Bean bag sections: Six using the template.
ASSEMBLING THE OUTER AND LINING Step one Trim the fur 1cm (3⁄8in) in all the way around the outside edge of the six sections. This makes it easier to join the pieces together. Step two Take one fur section and pin it along one side, making sure that the fur nap flows in the same direction for each piece. Sew together along one side. 01 Step three Repeat to add further sections, backstitching at the start and end of your sewing. Trim away the bulk where the short ends meet. 02 Step four Add all the sections until all six are sewn together but leave a turning gap along one edge. Step five Repeat for the lining, leaving a turning gap in the same place as for the fur outer – this will make it easier to fill the pouffe later. 03
ASSEMBLING THE POUFFE Step one Turn both the outer and lining right sides
26 WWW.SIMPLYSEWINGMAG.COM
(RS) out through the turning gap. Step two Push the lining inside the fur outer. Step three Carefully fill the lining with the bean bag pellets. A measuring jug can be used to help with this. 04 Step four Machine-stitch the turning gap in the lining closed. Step five Close the fur outer turning gap with a small ladder stitch to finish.
scandi home 01
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throw
MAKING THE THROW
MATERIALS USED Front: Faux fur light powder from Stoff & Stil www.stoffstil.co.uk Lining: Chads Jamboree. Ref: AGFLAM44282. From Lagom by Art Gallery Fabrics. Yarn: Sirdar Snuggly Crofter in 0190.
Step one Pin or clip the fur outer to the cotton lining with right sides (RS) together along one of the shorter edges and sew together. Step two As the fur is stretchy it may be slightly bigger (or smaller) than the lining fabric. Once the fabric has been sewn together along the first seam, check that it has not stretched and then trim off the excess fur or cotton from the end of the stitching. 01 Step three Pin or clip the fabrics together along one of the longer edges. 02 Step four Sew together and trim off any excess fabric beyond the sewn seam. The throw fabrics should now be squared off. Step five Repeat for the other two sides, leaving a turning gap along one edge. Step six Turn the assembled throw RS out through the turning gap.
NOTES Q Use a 1cm (3⁄8in) seam allowance. Q A walking foot will make stitching thick fabric easier. Q Our cotton fabric lining is only 110cm (433⁄8in) wide, so the throw is sized to this width. If you want to make a larger throw, then use a wider fabric or join pieces together.
Step one Make four large pom poms. Use two pieces of 30cm (12in) yarn to tie the pom poms to give them strength. Step two Thread a large eyed needle with one of the pom pom ‘tails’, then sew it through one of the throw corners (to the inside of the throw) a couple of millimetres away from the corner point. Repeat for the second pom pom tail. 03
YOU WILL NEED Q Faux fur: 1.75mx110cm (2ydx44in), for the outer Q Lining fabric: 1.75mx110cm (2ydx44in), for the back Q Yarn: 4 x 50g balls Q Pom pom maker: 85mm Q Matching thread Q Basic sewing kit
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Step three Tie the pom pom tails tight into a double knot (pulling the pom pom into the corner of the blanket). Check the pom pom is well positioned on the throw from the outside, then cut off the excess tail yarn inside. Repeat for the other three pom poms. Step four Close the turning gap with a small ladder stitch to finish. 04
ADDING THE POM POMS
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scandi home 01
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03
04
pom pom Scarf YOU WILL NEED Q Main fabric: 30x150cm (12x60in) Q Lining fabric: 30x150cm (12x60in) Q Yarn: 2 x 50g balls Q Pom pom maker: 85mm Q Erasable pen Q Matching thread Q Basic sewing kit MATERIALS USED Fake fur light powder. Wool felt light grey melange. Both from Stoff & Stil www.stoffstil.co.uk Sirdar Snuggly Crofter yarn in 0190. NOTES Q Use a 1cm (3â „8in) seam allowance. Q A walking foot will make stitching thick fabric easier.
SHAPING THE SCARF ENDS Step one Working on the scarf outer and scarf inner fabric pieces, mark the 15cm (6in) centre point along each of the short ends. Mark 20cm (8in) in from each end along the long edge, for both the top and bottom edges. Step two Draw a line from the 15cm (6in) middle point along to the 20cm (8in) point for both the bottom and top of the scarf outer and inner, on each end. Step three Cut away these triangles. You will now have a point for each scarf end. 01
MAKING THE SCARF Step one Pin the outer to the linine with right sides (RS) facing all the way around. Step two Sew together all the way around, nut leaving a turning gap along one long edge. Clip the corners to reduce bulk. 02 Step three Turn the assembled scarf RS out through the turning gap.
FINISHING THE SCARF Step one Make two large pom poms using the pom pom maker. 03 Step two Hand-sew the pom poms to the scarf corner points. 04 Step three Close the turning gap with a small ladder stitch to finish.
28 WWW.SIMPLYSEWINGMAG.COM
scandi home 01
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04
Storage Tub YOU WILL NEED Q Felt fabric: 90x90cm (36x36in) Q Leather or faux leather strap: 2.5cm wide x 60cm long (1x24in) Q Heavy duty hole punch Q Chicago screws: 4 x 5mm (¼in) Q Erasable pen Q Matching thread Q Basic sewing kit FABRIC USED 100% Wool Felt Natural Light Grey. From www.woolfeltcompany.co.uk NOTES Q Use a 5mm (¼in) seam allowance. Q Use fabric clips instead of pins when working with thick fabrics. Q A walking foot will make stitching thick fabric easier.
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CUTTING OUT
ADDING THE STRAPS
Step one From the felt cut: Base: One 30x90cm (117⁄8x35½in), Sides: Two 23x46cm (91⁄8x181⁄8in). Step two Cut curves along the bottom two corners of each of the side pieces (we used an egg cup). Punch holes 11cm (43⁄8in) in from each outside edge of the base piece, along the short ends, and 2.5cm (1in) down from the edge. Step three From the leather strap cut: Straps: Two pieces, each 30cm (12in) long. Step four Punch holes in the strap ends so that they can be attached to the tub later on. 01
Step one Take one leather strap and line it up with a punched felt hole on one tub end. Attach the strap with a Chicago screw. 04 Step two Repeat with the remaining strap and Chicago screws.
ASSEMBLING THE TUB Step one Mark the 45cm (17¾in) central point along both long edges of the base felt piece. Step two Mark the central point along the 46cm (18in) bottom edge (where the curves are cut) of the two felt side pieces. Step three Take one felt side piece and clip it to the base piece. Begin by matching the marked centre points then clipping outwards from there. Clip around the curve using lots of clips. 02 Step four Sew the felt side in place carefully – using a longer stitch length will help to achieve a neater finish. 03 Step five Repeat to attach the other felt side piece to the base of the bag.
WWW.SIMPLYSEWINGMAG.COM 29
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Cosy up in faux fur trimmed mittens with Stoff & Stil's pattern.
If you're feeling inspired by our luxurious Scandi-style homewares on page 18 and fancy adding some faux fur to your winter wardrobe, don't miss these cute mittens from Stoff & Stil. Ours are made in wool felt with a faux polar fox fur trim – yum! A snip at just £2.50, this simple pattern is great for beginners; there's even a handy video tutorial. You'll have them sewn up in a flash, so they're fab for last-minute gifting, too (if you can bear to give them away, of course!). Find the pattern, video tutorial and fabric at www.stoffstil.co.uk
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WWW.SIMPLYSEWINGMAG.COM 31
CovEr
WHILE STOC
THE JODIE JUMPER Learn to sew raglan sleeves, a hem band and cufs, f and a cute patch pocket detail with this cosy winter wardrobe staple.
TH JODI JUMP R 01
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08
09
YOU WILL NEED
CUTTING OUT
STITCHING THE NECKLINE
Q Main fabric: 2.5mx115cm (2¾ydsx45in), for all sizes Q Ribbing fabric (optional): 1mx115cm (11⁄8ydx45in), for the cuffs, neckband and hem Q Ballpoint sewing machine needle Q Twin sewing machine needle Q Matching thread Q Basic sewing kit
Step one From the main fabric cut: Front bodice (A): Cut 1 on fold. Back bodce (B): Cut 1 on fold. Sleeve (E): Cut 1 pair. Neckband (F): Cut 1. Sleeve cuff (G): Cut 1 pair. Front hem band (H): Cut 1 on fold. Back hem band (I): Cut 1 on fold. Patch pocket (K): Cut 1.
NOTES Q RS = Right side. Q WS = Wrong side. Q Use a 1.5cm (5⁄8in) seam allowance unless otherwise stated. Q *Twin needle method: Overlock the raw edge, fold under by 1cm (3⁄8in) and then stitch in place from the right side with a twin needle.
ATTACHING THE PATCH POCKETS
Step one Check the neck binding against the neckline and cut it to the correct length. It should be approx 10% smaller than the neckline in length to make sure it sits flat against the body, but this will vary depending on the type of fabric you use. Remember to include a 1cm (3⁄8in) seam allowance at each end. It is easiest to check the length by pinning it around the neckline. Step two With RS together, stitch the two short ends of the neck binding with a 1cm (3⁄8in) seam allowance and press open. Step three Press the neck binding in half WS together. Machine-tack the raw edges within the 1cm (3⁄8in) seam allowance. Step four With RS facing, pin the binding to the neckline all the way around. 06 Step five Align the seam with a back shoulder seam. Sew with a 1cm (3⁄8in) seam allowance. Step six Press the bodice towards the neckband seam allowance. Using the twin needle method (see notes) topstitch the bodice to the neckband seam allowance. 07
SUGGESTED FABRICS Q Medium-weight sweater, fleece or ponte roma fabric.
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Step one Press 1cm (3⁄8in) then 2cm (¾in) to the WS along one short edge of the patch pocket. 01 Step two Topstitch 2mm (1⁄8in) from the fold. Step three Finish the edges of the remaining raw edges. Press these edges over by 1cm (3⁄8in). 02 Step four Pin the patch pocket to the front bodice using the marks on the pattern. Topstitch in place around the three sides 2-3mm (1⁄8in) from the pressed edge. Press in place. 03
ATTACHING THE SLEEVES Step one With RS together, stitch the sleeves to the front bodice along the raglan seams, matching raw edges and notches. Finish the seams and then press the seam allowance towards the back. 04 Step two Stitch the sleeves to the back bodice RS together along the raglan seams, matching the notches. Finish the seams. Press the seam allowance towards the front. 05
STITCHING THE SIDE SEAMS Step one Stitch the side seams of the bodice and underarm seams of the sleeves in one go. Starting at the hem of the sleeve with RS together, stitch towards the hem of bodice, making sure the seams at the underarm match. Step two Finish seams and press towards the back.
04
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12
FINISHING THE CUFFS
FINISHING THE HEM
Step one With the RS of the sleeve cuff together and aligning the raw edges, stitch the short edges together. Press the seam allowance open. 08 Step two Fold the sleeve cuff in half WS together and press. Machine-tack the raw edges together within the seam allowance. 09 Step three Place the sleeve cuff around the sleeve hem, matching the raw edges and underarm seam. Pin in place. 10 Step four Stitch in place and then finish the seam allowance. Press the finished seam allowance towards the sleeve.
Step one Stitch the short edges of the front and back hem pieces RS together, aligning raw edges. Press the seam allowance open. 11 Step two Fold the hem band in half WS together and press. Machine-tack the raw edges together within the seam allowance. 12 Step three Place the hem cuff around the bodice hem, matching raw edges and side seams. Pin. Step four Stitch the hem cuff in place. Finish the seam allowance and then press the bodice towards the seam allowance. Step five Give the jumper a final press to finish.
CUTTING LAYOUT 115CM (45IN) WIDTH FABRIC
A
B
Foldline
Selvedges
F
K
140CM (55IN) WIDTH FABRIC
G
SIZE CHART
A
E
FINISHED MEASUREMENTS SIZE
6
8
10
12
14
16
18
20
UK
6
8
10
12
14
16
18
20
H
4
6
8
10
12
14
16
EUR
34
36
38
40
42
44
46
48
cm
95
97.5
100.5
103
108
113
120
128
in
37.5
38.5
39.5
40.5
42.5
44.5
47.5
50.5
cm
96.5
99
101.5
104
109
114.5
122
129.5
in
38
39
40
41
43
45
48
51
cm
99
101.5
104
106.5
111.5
117
124.5
132
G
Foldline
2
Selvedges
US
K
F I B
BUST E
WAIST H
HIPS
I
in
39
40
Subscribe at www.simplysewingmag.com
41
42
44
46
49
52
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th jodi jump r It's hard to believe we used to be nervous about working with stretch fabrics – once you've tried sewing with knits, you won't be able to resist adding more jerseys to your stash ready for cosy projects! If you're a stretch-fabric newbie, let The Jodie Jumper take you through the process step by step – as it's designed for stable knit fabric, such as sweatshirt fabric, fleece and ponte roma, it's an ideal beginner's project. You'll master raglan sleeves, adding neck bands and cuffs, and sewing a patch pocket detail – and check out our tips below to get you started. Plus, if The Jodie Jumper has got you in the mood for more stretchy sewing, turn to page 39 for a bonus pattern download!
TIPS FOR SEWING STRETCH FABRICS Q Cutting along the exact grain will mean the jersey is less likely to distort when sewn – and ensure your fabric isn’t hanging off a table when cutting, as this will cause it to stretch! Q Always use your sharpest scissors to cut out jersey fabrics, as blunt ones will ‘drag’ the fabric and stretch it as you are cutting. Q Ballpoint or stretch needles are best, as the rounded tip will pass through your fabric smoothly without skipping any stitches; use twin ballpoint needles for neat topstitching. Q Take your time when sewing, especially if you're matching up stripes or directional prints. If your sewing machine has a speed control, select the slowest setting. Q For lightweight stretch fabrics, try sewing with a piece of tissue paper under the fabric to stabilise it, then carefully rip it away. Q Straight stitches don't stretch with the fabric and may rip out easily with movement, so try out different stitch settings on scrap fabric to work out which is best for your material. Q An overlocker will give a quick, neat finish on jersey, as well as allowing for stretch on seams – an excellent excuse to invest in one!
et patch e w s a Ad etail and pocket d ing. topstitch
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NEW SKILLS Construct raglan sleeves and sew a stretch neckline.
CUTE DETAILS Show off your topstitching skills with the feature patch pocket.
PRO LOOK Finish off the hems with neat bands and cuffs.
th odi ump r wear it with
We love the textured look of this quilt-print knit from www.sewingquarter.com
Grey Melange Cherry, www.stoffstil.co.uk
Ice pAstelS Pick and mix cool candy hues for a sweet winter ensemble. We're swaping ur plain clutch bag fr this bold quilted cutie, £29.50, www.oliverbnas.com
Glitter Stars Sweatshirt, www.minervacrafts.com
Play with texture combos in tonal shades. Velvet earrings £19.50, resin necklace £19.50, both www.oliverbonas.com
Stripe Ponte Roma, www.minervacrafts.com Update ripped jeans with stitching and patches, £25, www.dorothyperkins.com
FABRIC INSPIRATION
Don't sweat it We like to work out...and by work out, we mean stay home and sew cosy jumpers in snuggly sweatshirt, leece and knit fabrics!
Candy Floss Pink, www. sewingquarter.com
Do weekends in style in comfy studded kicks, £70, www.dunelondon.com
Yep, you do need another tote – especially one in this delicious mint hue, £36, www.oliverbonas.com
Floral print knit, www.stoffstil.co.uk
Twinkle Rose, www.backstitch.com
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Why choose between stripes, florals and sparkles when you can wear them all! £28, www.oliverbonas.com
Just add sprinkles! Gold confetti glams up this midnight-blue French terry from www.backstitch.com
Wrk an 80s sprts-luxe lok in sweats and heels, £12, www.primark.com
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132 PAGES OF FABRIC INSPIRATION + FOLD-OUT PATTERN SHEET
Just 99
*
The team behind Mollie Makes bring you a collection of fantastic fabric projects. From wardrobe hacks and unique accessories to cute gifts and handmade decor ideas, our step-by-step guides will get you stitching, sewing and quilting.
order your copy today! Call 03330 162 138 AND QUOTE ‘MOLLIE SEWING VOLUME 2 PRINT 1’ Online WWW.BUYSUBSCRIPTIONS.COM/MOLLIESEWING2 UK calls will cost the same as other standard fixed line numbers (starting 01 or 02) and are included as part of any inclusive or free minutes allowances (if offered by your phone tariff). Outside of free call packages call charges from mobile phones will cost between 3p and 55p per minute. Lines are open Mon to Fri 8am-6pm and Sat 9am-1pm. Overseas please call +44 (0)1604 973 746. * Price applies to UK orders only. EUR price £11.99, ROW price £12.99. All prices include P&P. Please allow up to 28 days for delivery.
Make a Jodie jumper dress with our bonus pattern download.
When it comes to cold-weather style, you can never have too many chunky knits – and our bonus pattern add-on for this issue's Jodie Jumper (p32) gives you the perfect excuse to add another one to your collection! Download the bonus pattern and make this snuggly jumper dress with jumbo patch pockets. You could go bold with a bright jersey as we have, make it in grey marl for a sports-luxe vibe, or even add the cuffs in a contrasting colour or print. Download the pattern at www. simplysewingmag.com/downloads
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workshop
INTERFACING With so many options to choose from, buying interfacing can be a daunting task. Find out how to achieve professional results with our guide to picking the best interfacing type for your project.
O
ften considered to be a boring part of dressmaking, interfacing can in fact become suprisingly exciting when you discover the professional level it can help your projects to achieve – with it, you can say goodbye to stretched edges, wavy hems, gaping pockets and wonky waistbands! As well as giving you an in-depth look at the properties of different interfacing, we’ve rounded up of some of the most innovative interfacing products available that will help you to choose the perfect type for your next project. It is always recommended to match the interfacing to the qualities of your chosen fabric, for example, knit interfacing for knit fabrics, lightweight for lightweight fabrics, and so on. Test the effect of the interfacing on a sample first to ensure the handle and adhesion meet your expectations. USES OF INTERFACING IN DRESSMAKING Hems: Prevent the dreaded wavy hem by pressing edge tape along the edges of your work. This is particularly useful for sewing curves or working with stretch fabrics. Waistbands: Use specialist interfacings with pre-cut perforations for straight, sturdy and long-lasting waistbands. Pockets: Stabilise the top of a patch pocket for a more structured appearance that won’t gape over time. Collars: Use interfacing to add structure and longevity to shirt collars and collar stands – it’s important that this area will stand the test of time and multiple washes! Necklines: Interfacing is commonly used to give neckline and armhole facings structure and to prevent them moving about. Raw edges: Specialist interfacing tapes can be used for edges to prevent stretching and shifting of the fabric. Reinforcement: Interfacing reinforces and stabilises buttonholes, drawstring openings or other areas prone to heavy use. METHOD OF ATTACHMENT Iron-on interfacing is recommended for most fabrics and is the easiest to apply. There is a fine layer of adhesive on one side which, when pressed, melts and bonds to the fabric.
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Sew-in interfacing is recommended for fabrics that cannot be pressed, such as fur, sequins and velvet, and fabrics that would not withstand the heat of an iron, as well as open-weave fabrics such as lace, where the interfacing will be visible from the right side. If it is sewn incorrectly, sew-in interfacing can cause the entire garment to sit awkwardly and also adds an extra layer of fabric, which for a beginner may be difficult to manoeuvre. Fusible interfacing is recommended for the majority of dressmaking projects, unless your chosen fabric falls into a category that makes it unsuitable for fusible interfacing. WEAVES Woven interfacing has a warp and weft, just like woven fabric. The grainline of the sewing pattern must match the grainline of woven interfacing when cutting out. It is always best to use woven interfacing if you are working with woven fabric, as it will allow the fabric to maintain its drape and shaping and will also reduce the risk of lumpy interfacing, which happens when the interfacing is unable to move with the fabric and so pulls away. Non-woven interfacing is made from
bonded fibres in the same way that felt is made. It has no grain and the interfacing will not fray and can be cut in any direction, so the grainline is not relevant when cutting it out. This type of interfacing can be used with most fabrics that do not stretch. Knit interfacing is great to use with knitted fabrics, such as jersey and scuba. The fibres in this interfacing are knitted together to allow stretch, meaning that the interfacing will move and stretch with your fabric. WEIGHTS Try to match the properties of your fabric when selecting an interfacing. For example, if you are using a lightweight woven fabric, choose a lightweight woven interfacing. COLOURS All types of interfacings are available to buy in a wide range of neutral colours. White interfacing is widely available and is suitable for most projects, especially if your sewing project is lined. However, if you can find an interfacing in a coordinating light or dark shade this will reduce the chance of it being seen through the fabric weave.
VLISELINE EDGE TAPE Vlieseline Edge Tape has very fine stitch reinforcements running through its length to help stabilise fabric edges wherever stretching or fraying might occur. This tape allows you to sew perfect-looking, smooth seams that won’t pull out of shape or stretch over time.
VLISELINE STRETCHFIX This elastic, heat-activated adhesive web maintains the elasticity of the fabric. It can be used for appliqués or to join two fabrics. This tape is also perfect for professional-looking jersey dressmaking projects – there won’t be a wavy hem in sight!
VLISELINE WAISTSHAPER The quick and easy way to get waistbands, cuffs, pocket flaps and even pleats looking neat and perfectly straight. Waistshaper interfacing has perforations along the centre fold and the seam lines. The slits provide the pressing lines for the centre fold and seams.
VLIESELINE H200 H200 is ideal for use on lightweight fabrics that require a little extra shape and support. It is easy to iron on, giving a crisp yet supple finish. As used on the neckline of our Aisling Dress in issue 46 this interfacing is perfect for adding a light amount of structure to a neckline.
VLIESELINE G700 G700 is a versatile woven iron-on interfacing that is perfect for lightweight pure cotton lawns and mixed-fibre fabrics that require a subtle softness and ease. Ideal for blouses, shirts, pockets, home accessories and creative projects in light to medium-weight fabrics.
VLIESELINE H410 H410 gives a soft handle and is often used in tailoring. This interfacing has stabilising vertical threads to ensure that softer fabrics retain their shape and is ideal for waistbands, hems and jacket fronts. Suitable for lightweight to heavy fabrics, including wool, silk and jersey.
SHOPPING LIST Cut out and keep! Circle the interfacing properties needed for your next project for easy reference.
TYPE
WEIGHT
WEAVE
SHADE
Sew-in
Light
Nonwoven
Dark
Medium
Woven
Light
Heavy
Knit
Neutral
Fusible
VLIESELINE G770 G770 is a soft and bi-elastic fusible, woven interlining. Its combination of softness, volume and resilience makes it ideal for interlining large areas of garments such as blazer and jacket fronts, as well as for smaller areas such as skirt and trouser waistbands.
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VLIESELINE G785 G785 is a soft fusible lightweight woven interlining. It has a two-way stretch and is particularly useful for interfacing delicate, drapey fabrics that are difficult to work with. It is ideal for collars and cuffs, as well as for front interfacings on lightweight jackets and coats.
Notes
For more information on all of the Vlieseline interfacings we have mentioned visit www.ladysewandsew.co.uk
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PSST: fabric and
fo r f a e l r be e Turn ov spiration, and in ished n fi styling r u o re y a h s o t th us i sure w t r i k S Cressida plysewingmag #sim d e g g a t
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WHIL
LAST
the cressida skirt Sew Jennifer Lauren Handmade's 1950s-inspired Cressida Skirt in UK sizes 6-20, with two button styles, belt loops, a it-and-lare silhouette – and pockets!
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th Cr ssida skirt We love a pattern that gives us a chance to tick off lots of skills in one project, and this issue's Cressida Skirt by Jennifer Lauren Handmade is packed with techniques to try. You'll master sewing in-seam pockets, buttonholes, belt tabs and perfect topstitching – and have a twirly, 1950s-inspired skirt at the end of it all!
YOU WILL NEED Q Main fabric: Skirt A: 150cm (60in) width x 2.1m (3yds); 115cm (45in) width x 2.9m (3¼yds) Skirt B: 150cm (60in) width x 1.7m (2yds); 115cm (45in) width x 2.8m (31⁄8yds) Q Buttons: Skirt A: 14 buttons 2.5cm (1in) in diameter or smaller Skirt B: 11 buttons 2.5cm (1in) in diameter or smaller Q Lightweight fusible or sew-in interfacing: 40x90cm (16x36in) Q Tracing paper
TWO OPTIONS Choose from two button styles and optional belt tabs.
Q Matching thread Q Basic sewing kit
FABRIC SUGGESTIONS Medium-weight woven fabrics such as cotton, denim, corduroy and suiting.
GETTING STARTED First, pre-wash and dry your chosen fabric to allow for any shrinkage. Unfold the pattern and find the line style for your size using the key provided. Follow these lines to cut your pattern pieces out – it can be helpful to mark the lines using a highlighter. Read all of the instructions before you start to ensure you do each step in the correct order, get your sewing kit ready so you have everything you need to hand, press your fabric for accurate cutting out – and you’re ready to get started on your Cressida Skirt!
Make i th fastenin two buttn gs optina tyles and l belt lo ps.
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1950S STYLE A semi-circle skirt with a classic fit-andflare shape.
SEW AND LEARN Add pockets, belt tabs, buttonholes and topstitching.
wear it with
Pick a timeless fabric like this twotone herringbone for a skirt you'll wear for years, www.sewingquarter.com
Mustard Gold Denim, www.minervacrafts.com
Lady Luxe Scale up your winter look with gold, shine and warm shades. Ad polish ith a glosy maron mani. Berry nice! £6, www. marksandspencer.com
Garden Variety Olive, www.cloud9fabrics.com
Show off those perfectly sewn belt loops with a belt in a wintery wine hue, £10, uk.accessorize.com Gold Glimmer Solid, www.cloud9fabrics.com
FABRIC INSPIRATION
twirl power
Channel a vintage vibe in ladylike gloves, £25, uk.accessorize.com
From corduroy to linen, tweed to denim, cotton to suiting, choose a fabric with drape and weight for a swishable skirt. Oversized, cable-knit and mustard yellow – do jumpers get any better? £18 from direct.asda.com
Chambray Dots, www. minervacrafts.com
Be cosy and office-ready in a chic rollneck style, £25, www.oasis-stores.com
Floret Dark Navy, www.cloud9fabrics.com
This bag might look smart and sensible, but it hides a fun floral lining! £52 from www.cathkidston.com
A patent finish gives chunky-soled shes a sleek twist, £25, www. drothyperkins.com Floral Chambray, www. minervacrafts.com
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A classic mid-wash denim skirt will see you through all seasons, www.sewingquarter.com
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MY SEWING WORLD By Jennifer Lauren Pattern designer Jennifer shares her pregnancy sewing plans, with comfy PJs, cute undies and loaty frocks! y sewing plans for 2019 are a little less ambitious than they usually would be, since we’ll be welcoming another addition to our family in February! Sewing time will of course be much more limited than usual, so it’s a top priority to make that count, especially in the lead-up to the birth. I remember after my son Oscar was born, feeling not only like I was not myself anymore, but that my wardrobe reflected that exact feeling right back at me. It was a bit deflating to head back to my wardrobe for my good old staples only to find they didn’t fit, weren’t flattering and weren’t in the least bit suitable for life with a new infant. I don’t want to repeat that mistake again this time around – getting dressed in the early days of bringing a new baby home really does feel like an accomplishment, and feeling good in what you’re wearing is the cherry on top. I’m determined to keep my vintage aesthetic, while also making things that are practical to wear daily. I’m not really all that interested in sewing for just one relatively short season of my life, so I’m avoiding maternity patterns. I want to know that the things I’m investing my time and money into now will get worn past this current stage of my life. So, with that in mind, I’ve identified a few wardrobe holes that desperately need filling! Pyjama pants! I practically lived in PJs for the first few weeks after Oscar was born. I had made a beautiful pair a few weeks before he was due and they’ve been worn almost everyday since. In fact, they are so loved that the knees are sagging and faded, and the elastic is wearing through the waistband casing, so it’s definitely time for a replacement pair (or three). I’m keen to give the Caroline PJs by Closet Case Files (www.closetcasepatterns.com) a go – because, POCKETS! Going by how much I’ve worn my last pair of PJ pants, these are going to go down a treat. The Quincy Dress. My Quincy pattern fills so many gaps in my handmade wardrobe for this stage of my life, as it works as a relaxed-fit dress with access for breastfeeding. The dress also looks great without cinching in the waist (perfect for growing bellies, as well as post-pregnant bellies) and I will have access for nursing as well. Once that part is over with, I can just cinch the waist in and have my favourite fit-and-flare vintage silhouette. Plus, because
Find my col lection of sew ing www.jennife rlaurenhand patterns at made.store
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"Feeling good in what you’re wearing is the cherry on top."
my go-to e r a fs ie r B ie ix The N ent. m o m e th t a n r e tt undies pa
"Having a full draw of comfy and pretty makes is high on the agenda."
Comfort, style and pockets? Yes, please! Closet Case Files' Carolyn pattern is the ultimate pyjama set for pregnancy and beyond.
the pieces mix and match with The Mayberry Dress, I have outfits for all seasons and none of my dresses have to look the same. Underwear! We all need comfy undies, and since I doubt I’ll have much time for taking care of my undergarment situation for a long time, having a full draw of comfy and pretty makes (as well as using up some of my knit scraps) is high on the agenda. My Nixie Briefs are my go-to lingerie pattern at the moment – with hipster and high-waisted versions, and full coverage at the back that includes a higher rise for the hipster style, plus a cute side overlap, my underwear drawer will be in top shape for the year to come. Since I’m having a summer baby (I live in New Zealand), with a little tweaking to the bodice of the Felix Dress pattern by Grainline Studio (www.grainlinestudio.com) it’ll be a perfect dress for the warmer months. Adding buttons down the crossover section at the bust will allow easy access for nursing, and the gentle flowing skirt will make wearing it a breeze. Add a cardigan over the top and it’ll be a lovely transitional garment as well while I try to figure out what suits me and how to dress a postpregnant summer body again. I also think that the curved top of the Felix skirt really lends itself well to a pregnant belly – it's flattering and comfortable. As my new Sorrel pattern is a shift-style shirt-waist dress, it’ll be the perfect post-pregnancy dress with just a few little tweaks. Releasing the front open-ended darts and adding a lightly gathered skirt will give it a completely different look and feel (while still keeping that vintagevibe I so adore) and make it during and post-pregnancy friendly. I’ll have a tutorial up on my blog on how exactly to do this if you like this style and fancy making your own.
Keeping me inspired...
The floaty Fel ix Dr for New Zeal ess is perfect and summers !
Dresing a post-pregnant body can be seen as challenging, but I dn’t think it has o be. Yu dn’t have o give up yur persnal style just because yu dn’t fit into yur pre-pregnancy wardrobe anymre. With some planning and a few alteratins, yu can use some of yur tried and true patterns o make a wardrobe that is just as much yu post-pregnancy, as it was befre yu got pregnant. At the very least, making sure yu’ve got PJs and some lovely undies ill always brighten yur day!
Keep up with my maternity sewing progress on Instagram @jenniferlaurenhandmade
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precious metals There's no need to choose just one metallic hue – make Lisa Lam's glam clutch in silver, gold and rose gold washable paper fabric.
m ta ic c utch 01
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YOU WILL NEED
CUTTING OUT
Q Fabric A: 30x40cm (12x16in), for the main bag Q Fabric B: 20x20cm (77⁄8x77⁄8in), for the left outer pocket Q Fabric C: 20x20cm (77⁄8x77⁄8in), for the right outer pocket Q Lining fabric: 46x57cm (18x22in) Q Iron-on fleece: 50x90cm (20x45in) Q Medium-weight fusible interfacing: 25x25cm (10x10in) Q Bag zip: 30.5cm (12in) Q D-ring: 5mm x 1.3cm (½in) Q Trigger hook: 1.3cm (½in) Q Magnetic clasp: 1.5cm (5⁄8in) Q Chicago screw: 1cm (3⁄8in) Q Piping or zip machine foot Q Hole punch pliers Q Basic sewing kit
Step one From Fabric A cut: Bag outer: Two 29x17.5cm (11½x67⁄8in). Strap: 35x3cm (13¾x1¼in). Step two From Fabric B cut: Left outer pocket: One using the template. Step three From Fabric C cut: Right outer pocket: One using the template. Step four From the lining fabric cut: Outer pocket lining: One using the template. Bag lining: Two using the template. Step five From the iron-on fleece cut: Outer pocket: one using the pocket lining template. Bag outer: Two 29x17.5cm (11½x67⁄8in). Step six From the iron-on interfacing cut: Magnetic snap reinforcement: Four 2.5x2.5cm (1x1in).
knotting the bobbin and top threads together. Step five Cut 3cm (1¼in) from the strap for the handle loop and set aside. Step six Fold the strap in half then overlap one half over the other by 3.5cm (13⁄8in). 03 Step seven Thread the trigger hook onto the longer strap half and neatly fold the longer strap end over the attached D-ring. Step eight Fold the strap end in on itself again so the strap end just touches the D-ring. 04 Step nine Make a mark in the centre of the folded strap end, 1cm (3⁄8in) from the end. Step ten Holding the strap (and holding the bolt snap and the strap folds in place), make a starter hole using an awl in the mark you made. Using hole punch pliers, punch a 4mm hole through the starter hole you have just made. Punch though all of the layers. Use the rivet to secure the strap layers in place. 05
MAKING THE WRIST STRAP NOTES Q Use a 1cm (3⁄8in) seam allowance. Q Backstitching could tear the washable paper, so pull the top thread to the wrong side and knot. Q Finished size: 43cm (W) x 33cm (H) x 15cm (D). (17x13x6in). FABRICS USED Washable paper in silver, rose gold and gold from www.u-handbag.com
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Step one On the wrong side (WS) of the strap mark the centre down the entire length. With the strap WS facing up, neatly fold both long raw edges into the centre line. 01 Step two Press the folds. Press a scrap of washable paper first to test the iron temperature. Step three Set your machine stitch length to 4mm. Leaving long thread tails, topstitch both long edges 2mm (1⁄16in) from the edge. 02 Step four At both strap ends, secure the stitch ends by pulling the top threads to the WS and
MAKING THE OUTER POCKET Step one Transfer the magnetic snap pattern marking to the right side (RS) of the pocket lining. Step two Layer two of the magnetic snap reinforcement interfacing squares one on top of the other with the adhesive sides facing down. Press the squares to the pocket lining WS so that they are directly behind the snap pattern marking which is on the RS of the fabric. Step three Press the outer pocket iron-on fleece to the WS of the pocket lining.
04
05
06
10
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Step four Place the left-hand outer pocket piece and right-hand outer pocket pieces RS together. Set your machine stitch length to 3.5mm. Leaving long thread tails, stitch together at the short side edge. Step five Knot the long machine threads together to secure. Finger-press the seam open. Step six Working from the RS, topstitch 2mm (1⁄8in) from the central seam along both sides of the outer pocket. 06 Step seven Bring the outer and lining pocket pieces right sides together, matching raw edges, and stitch along the V-shaped top edge. Step eight Make a small snip into the V-point of the top edge seam. Be careful to cut close to, but through, the stitching. 07 Step nine Finger-press the top seam edge open on the pocket WS. Flip the lining over so that both pieces are RS out. Finger-press the top edge seam. Set your sewing machine stitch length to 4mm and topstitch along the top edge, 2mm (1⁄8in) from the edge. Step ten Insert the non-magnetic half of the snap fastener to the RS pocket lining at the marking. Take the snap half and press the prongs into the snap pattern marking, using the prong indent markings you have just made as a cutting guide. Using a seam ripper, make two slits for the snap prongs. Push the snap half into the slits, through the lining RS. On the lining WS slip a snap washer over the prongs and push the prongs down. 08
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MAKING THE OUTER FRONT Step one Take one of the bag outer pieces – this will be the front bag outer piece – and transfer the magnetic snap pattern marking to the RS. Step two Press the remaining two magnetic snap interfacing reinforcement squares to the WS of the front bag outer piece, behind the snap marking. Step three Insert the remaining snap into the RS of the outer as before. Step four Place the WS of the outer pocket onto the RS of the clutch front, matching the side and lower edges, and clip into place. 09 Step five Stitch together along the side and lower edges, 5mm (¼in) from the edge. Step six Thread the D-ring onto the handle loop and fold the loop in half with WS together. Step seven Position the folded loop with the D-ring on the RS of the bag front right, 5mm (¼in) up from the front pocket top edge, matching the loop and bag front raw edges. Stitch in place, 5mm (¼in) from the edge.
INSERTING THE ZIP Step one Place the lining fabric piece RS facing up, the zip on top of this with the RS facing up, then the outer piece WS down on top to sandwich the zip in place. Place the side edges 1cm (3⁄8in) away from the zip metal stopper. Carefully match up all raw edges and use sewing clips to hold the pieces together along the top edge. 10 Step two Trim the excess zip at the other zip end.
Be careful to not cut off the zip pull and leave at leave at least 5cm (2in) of excess zip tape. Step three Stitch together 5mm (¼in) from the edge. Flip the layers so that all pieces are RS out. Step four Hold the zip and at the same time gently pull on the fabric layers then press the seams flat on the lining side. For the outer side, finger-press to flatten the seam. Step five Topstitch along the RS of the seam to neaten, 3mm (1⁄8in) from the fabric edge. Step six Repeat to attach the other side of the zip.
ASSEMBLING THE CLUTCH Step one Open the zip at least half way. Step two Arrange the layers so that lining fabrics are RS together and the outer fabrics are RS together. Match all edges and clip in place. 11 Step three Look in-between the layers at the zip area – the zip should curve towards the lining. 12 Step four Leaving a 15cm (6in) turning gap in the bottom edge of the lining, sew all the way around the bag. Step five Clip off the corners and finger-press the outer seams open. Step six Open the zip through the lining gap. Turn the clutch RS out and push out the corners. Step seven Stitch the turning gap in the lining closed by hand or machine. Step eight To give the clutch a final press, use a pressing cloth. Step nine Clip the strap to the handle loop.
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Master the art of
REFASHIONING What if your next project was already sitting in your wardrobe? Meet the sewists inspiring us to give our unloved clothes a new lease of life. Written by Sarah Gane.
A GOOD R AD Kate Brookes gave one of her handmade ensembles a new look as a chic ruffle dress.
W
e’re used to seeing, creating and buying upcycled furniture, but when it comes to clothing, how many of us will turn to something we already own as a starting point for a new project? Yet with hard-hitting documentaries such as Stacey Dooley’s Fashion’s Dirty Secrets on BBC and Netflix’s The True Cost shining a light on the environmental impact of our shopping habits, many of us are feeling inspired to make some positive changes. And the best thing about it? Our wardrobes are the perfect place to start. One person really championing this cause is freelance sewist, blogger and founder of The Refashioners, Portia Lawrie (www.makery. co.uk). As she explains, the best thing about refashioning is that it can be as simple, or as complex, as you make it: “I love that half the work is already done for you. It can be a quick and satisfying sewing fix, or a very involved and meticulous creative process.” Portia's annual challenge, The Refashioners (#TheRefashioners2018) proves that there’s magic in them there clothes, encouraging us to work with what we’ve got to transform into something wonderful. While previous years' challenges have included transforming denim, suits and shirts, 2018's didn't involve a specific item of clothing – participants just needed to
recreate an outfit they love, be it from a film, TV show, the catwalk or Pinterest, using only existing garments. “I love that it makes your brain work in a different way as you find your way around obstacles and challenges,” says founder Portia. Hannah Silvani of The New Craft House (www.thenewcrafthouse.com) agrees. “There’s something special about giving new life to an unloved piece. It’s costeffective and requires creativity in a way that you just don’t get from buying new fabric.”
WASTE NOT, WANT NOT With around 350,000 tons of used clothes going to landfill in the UK each year* and approximately £30 billion worth** of unused clothing left languishing in our wardrobes, closets and cupboards, more of us adopting this waste-not-want-not approach to fashion could make a real difference to the environment. “Shop your wardrobe,” advises seamstress, blogger, The Refashioners 2018 participant and all-round creative gal, Kate Brookes (sewingwithkate. wordpress.com). “If an item of clothing has been sitting in there unworn, work out if it’s worth refashioning.” You can start simply with just a few small alterations, as Portia explains: “Changing small details like the length of a sleeve or hem; or the shape and taper of
“It can be a quick and satisfying sewing fix or a very involved and creative process."
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We love the quirky vibe of blogger Damar's selfdrafted dress, made from a second-hand tunic top and trousers.
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*Source: www.fashionrevolution.org **Source: www.wrap.org.uk; Photo bottom right: www.damarstudio.com
Photo left: www.fafafoom.com; Photo top left: www.thenewcrafthouse.com; Photos top right: sewingwithkate.wordpress.com
Hannah of The New Craft House remade a jacket into a skirt. “There’s something special about giving new life to an unloved piece."
The Refashioners founder Portia used three coats for her colour-block design.
Charlie Wensley made this two-piece set from a men's cotton shirt and a ponte Everlane dress.
Photo top left: www.nobleanddaughter.com; Photo centre: www.thenewcrafthouse.com; Photo top right: www.makery.co.uk
Fancy giving refashioning a go? Keep these handy pointers in mind. “Start small: try refashioning an unloved skirt into one that’s more your style – don’t reinvent the wheel.” Kate Brookes “Remember that different garments offer different creative opportunity. It’s exciting to learn from each one.” Mira Musank “The more tailored or detailed a garment is, the more challenging it is to work with. Suits can be hard as there is a lot of internal structure – darts, pockets, buttonholes, etc – to work around. Something like a simple gathered skirt, though, is pretty much just a rectangle of fabric once you remove the waistband, so it offers more scope or freedom to create.” Portia Lawrie “My top tip is to make a toile… your fabric is limited and you often need every inch available. This will help you avoid any major mishaps.” Kate Brookes “Don’t get hung up on standard sewing processes in a refashion and just focus on experimenting and trying different things. You may not end up with exactly what you started out intending to do, but the process is almost as fun as wearing the end result will be.” Charlie Wensley
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Refashioning works for maternity style, too! The New Craft House's Rosie created a maternity frock from vintage curtains. a trouser leg. Sometimes just recutting the neckline on a top will totally change its look.” On the other hand, if you’re feeling inspired to take on a bigger project but aren't quite sure where to begin, you’re not alone: “The biggest challenge that I hear most often from people is deciding what to do in the first place,” says Portia. While you could trawl Pinterest for a bit of inspiration, it’s worth trying another, more unusual, approach as well, as she explains. “It might sound weird and counter intuitive, but hang your garment out in plain sight where you will walk past it frequently. Essentially you are putting it just out of the corner of your eye but not really focusing on it.” Doing so will hopefully help your creative subconscious to do the work. “I know it sounds weird, but I guarantee you that at some point, as you walk past it, the ‘eureka’ moment will come,” she laughs. If you’re eager for a more involved project, you could start with anything from curtains to tailored suits and even wedding dresses. “Generally, I just look for really big things in good-quality fibres. Huge men’s shirts, good denim and leather are my faves,” says Hannah. For Rosie Scott, co-founder of The New Craft House, curtains are a firm favourite. “They’re a bit of a cheat really as they’re so easy to
refashion, but you get so much fabric that they’re hard to resist. I love finding vintage prints in heavy cottons – perfect for making into dresses.” For example, Rosie’s latest project involved using a pair of vintage curtains for a customised version of By Hand London’s Kim Dress pattern (www. byhandlondon.com). “The curtains turned out to have quite a lot of faded patches, which made cutting out a little tricky,” she tells us. “I tried to avoid the faded sections as much as I possibly could, but in the end I had to include some of them in the skirt. I don’t think it’s that noticeable, though.” For DIY fashion and sustainable maker Mira Musank (www.fafafoom.com), her latest project involved repurposing an old body suit and wedding dress – the result? A stunning, bubblegumpink custom occasion dress that wouldn't look out of place on a high-end catwalk, inspired by designs from Alexander McQueen and Comme des Garçons. “I tackled it by working on the garments from the innermost to the outermost layers,” she says of her refashion process. "The bodysuit was first to You'd never guess blogger Mira Musank's couture gown was made from an old body suit and wedding dress!
A GOOD R AD Blogger and freelance sewing writer Portia Lawrie tells us more about why she launched her annual upcycling challenge, The Refashioners.
Blogger Marie of A Stitching Odyssey transformed one of her me-mades into a cute top for The Refashioners 2018.
get size adjustment, followed by the cutting and dyeing of the wedding dress’ skirt portion. The assembly of the two came next, and the eyelet ribbons were added last.” Challenges she faced along the way were mainly down to the dyeing process, as she explains: “As both the bodysuit and wedding dress were vintage and made with synthetic fabrics, predicting how the dyeing would turn out was challenging. I ended up over-dyeing the dress during the dyeing bath process and had to take some colour intensity away in the second bath! That was really time-consuming, but I was really happy for the lessons learned. The results look awesome, too!”
FREESTYLE CRAFTING This experimental, try-anything approach is an important part of the refashioning process whatever your skill level might be, as blogger Charlie Wensley (www.nobleanddaughter. com), who created a chic jacket and skirt inspired by designer Rosie Assoulin for this year's Refashioners, tells us. “I’m not an especially experienced refashioner, but what I love about it is the freedom to get really creative and stretch your skills in a way that following a sewing pattern does not necessarily allow.” Don't limit yourself to working only with certain materials, either – the process of revamping offers a great chance to learn how to work with more unusual fabrics. “You really can use anything,” adds Portia. “Anything that is made from fabric
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What inspired you to set up The Refashioners? A lot of my early sewing projects involved refashioning clothes I had found in the charity shop. At that time (the first series was in 2011), I felt that refashioning had a really bad image in the online sewing community. There wasn’t a great deal of inspiration out there, and what there was often was very uninspiring to me. What did you hope to achieve from the initiative? I set out to change people’s perception of refashioning, to show its potential to be a truly artistic and creative undertaking. I wanted to raise its profile in the sewing
can be reshaped, recut and resewn. Even unexpected things like leather and wetsuits.” While it can sometimes be a bit nervewracking cutting into a garment for this first time, it’s all worth it if you can make it into a wearable wardrobe item. “I support the idea of ‘second-hand first’,” explains blogger Kate.
“I love finding vintage print curtains in heavy cottons, perfect for making into dresses." “And as an advocate of Fashion Revolution (www.fashionrevolution.org) I totally support the idea of changing the way that we buy and make clothes.” One of her favourite refashions started out its life as a second-hand cotton kimono. “I momentarily grappled with cutting into it, but it wasn’t valuable or vintage and the fabric was to die for.” She continues: “The main point is that I wouldn’t wear it as it was.
community and encourage people to start viewing discarded clothes and textiles as sources of materials for their makes. How has the sewing community responded? Amazingly! People have really embraced the challenges that refashioning throws up and have really gotten involved. The results have been some truly stunning refashions. I have people asking me when I’m going to announce the next series, and telling me how satisfying they found the whole process and how much they’ve learnt from it. What advice can you ofer tackling a garment that only ofers teeny bits of usable fabric? Increase the amount of fabric available by combining several garments together in a colour or texture-blocking way (try my sweatshirt project on page 62). Or try using a pattern comprised of multiple smaller pattern pieces. Also, don’t be afraid of breaking sewing rules. Specifically things like grainline and seam allowance – you can use smaller seam allowances and cut stable fabrics cross grain or slightly off grain.
I wanted something I could wear that was more special than a dressing gown I would probably spill my cereal down.” Luckily, Kate had plenty of fabric to work with. “They are so beautifully constructed that you can use the seam lines as a feature. I made an In The Folds Acton Dress (www.inthefolds.com) from it and it worked out beautifully – I even had enough fabric left over to make a bolero.” For Portia, this resourceful approach is what refashioning is all about. Rather than filling up our stash with new fabrics, she hopes more of us will look to second-hand stores – and our own wardrobes – when planning our projects. “I think it’s important that we don’t fall into the trap of over-consumption, and of thinking we are environmentally sound just because we make things ourselves. Fabric production has its own environmental impact and is not always ethically produced. Working conditions can be just as bad in fabric production as in the garment factories that we now routinely call out for their practices.” She continues: “There are literally no environmental, ethical or financial downsides to reusing garments and textiles. It’s win-win all round!”
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Photo top left: www.astitchingodyssey.com; Photo centre: www.fafafoom.com; Photo top right: www.makery.co.uk
Please tell us a little bit about yourself When I’m not busy with my son or working on the house last year, you’ll find me in my sewing space (a cabin at the end of the garden), sewing and being creative. As well as my own sewing blog (www. makery.co.uk), I regularly design projects for Simply Sewing and am the creator of the annual online sewing challenge The Refashioners.
transform it!
CHECK, PLEASE! DIY the check-print trend and make a cosy cover-up from an oversized scarf. Lana Red shows you how.
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UpcYcle QUICK PROJECT
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YOU WILL NEED
MAKING THE PONCHO
Q Wide scarf Q Matching thread Q Basic sewing kit
Step one Fold the scarf in half so the shorter edges meet and place it on a flat surface. 01 Step two Measure the width of the folded scarf and divide by two. Mark the centre of the scarf with a pin. Mark along the entire centre. Step three Cut down the marked centre from the edge up to the fold. 02 Step four Use your scissors to create a small circular neckline. 03 Step five Finish the raw edge with a zigzag stitch or an overlocker. 04 Step six Fold the edges under and hem around the entire opening. 05
SEWING THE MOCK SLEEVES Step one Fold the scarf with the new hemmed opening on top. On the the left-hand side measure approx 36cm (141â „8in) down from the top and mark with a pin. Step two Pin a 20cm (8in) line through both fabric layers inwards from your marked point to create a mock sleeve for your poncho. Sew along the line. Repeat on the other side. 06 Lana Red is the founder of the DIY and lifestyle blog Lana Red Studio, and also designed the quick sequin collar project on p61. Visit www.lanaredstudio.com
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o_
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STITCH y r a libr
cut out & Keep
Stash hexies, haberdashery and handstitching in Mollie Johanson's simple eyelet stitch motif drawstring pouch.
EyeLet StiTch
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YOU WILL NEED
WORKING DECORATIVE EYELET STITCH
ASSEMBLING THE BAG
Q Linen, for the bag outer Q Lining fabric, for the bag lining Q Stranded cotton in pale pink Q Stranded cotton in white Q Wooden bead Q Basic sewing kit Q Matching thread
Step one Come up at the outside of the pattern or shape. Go back down near the centre. Step two Continue making straight stitches, working from the outside to the centre with each stitch. You can work eyelet stitch with even or varying-length stitches. 01
Step one Mark the center of the bag outer strip long edges as well as the centers of the short edges of the bag side pieces. Step two Using a 7mm (¼in) seam allowance, sew the bag side pieces to the bag outer strip with RS together, matching the markings. Repeat with the lining fabric. 03 Step three Pin and sew the four sides of the linen RS together, forming a bag shape. Repeat with the lining bag pieces to create an identical piece. Step four Place the lining in the outer bag with wrong sides (WS) facing. Pin and sew around the top of the bag, leaving a 6cm (23⁄8in) opening. Turn the bag RS out and push the lining into the bag. 04 Step five Roll the top seam open with your fingers and press the seam allowances on the opening in. Stitch around the top edge by hand with three strands of stranded cotton and running stitch. Step six Mark and stitch eight eyelets around the bag approx 4cm (15⁄8in) from the top, using the functional eyelet template. 05
WORKING FUNCTIONAL EYELET STITCH NOTES Q Use a 7mm (¼in) seam allowance. Q Download the template at www. simplysewingmag.com/downloads
TIP: d stitching
han f o d you a , e s t e l Inst e y ing e r t s w a r les on o h the d n o t t ke bu a m stall n a n i c r o e chin a m ets. r m u o m o y r g ts or e l e y e l meta
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Step one Stitch a ring of back stitch a little larger than hole of the eyelet should be. Carefully cut out the center with small scissors. Step two Work eyelet stitch closer than the decorative version and working from the outside in to the centre hole. 02
MAKING THE DRAWSTRING BAG CUTTING OUT Step one From the linen cut: Bag outer strip: one 15x50cm (6x19¾in). Bag side: two 10x20cm (4x77⁄8in). Step two From the lining fabric cut: Bag outer strip: Cut one 15x50cm (6x19¾in). Bag side: two 10x20cm (4x77⁄8in). Tie closure: one 4x50cm (15⁄8x19¾in).
EMBROIDERING THE BAG Step one Print and cut out the template. Step two Using three strands of stranded cotton, embroider the decorative eyelets on the right side (RS) of the linen 15cm (6in) from one short end.
MAKING THE TIE CLOSURE Step one Sew the tie closure lining fabric into a tube with one end closed. Turn the tube RS out, tuck the raw edges inside and stitch to close. Step two Thread the drawstring tie through the eyelets, starting on the side of the bag. Step three Thread a bead over the ends of the drawstring and then tie the two ends together. 06
Put on the glitz with Lana Red’s statement sequin Peter pan collar DIY that'll take any outit from plain to party-ready.
Make in 1 Hour!
YOU WILL NEED Q Sequin fabric: 60x25cm (24x10in) Q Felt: 2 x A4 sheets Q Velvet ribbon: 1m (11⁄8yds) Q Fabric glue Q Basic sewing kit NOTE Q Download the template from www. simplysewingmag.com/downloads
CUTTING OUT Step one Download, print and then cut out the collar template. Step two From the sequin fabric cut: Collar: Trace the template onto the wrong side (WS) of the sequin fabric and add an additional 3cm (1¼in) all the way around, and then cut out a mirror-image pair. Step thee From the felt cut: Backing: Four using the template.
ASSEMBLING THE COLLAR Step one Place one piece of the sequin fabric right side (RS) down on a flat surface. Centre one of the backing felt pieces on top. Start folding the edge of the sequin fabric around the felt piece and secure it with pins. Step two Thread a needle and neatly sew the pinned edge. Step three Cut two 30cm (12in) lengths of velvet ribbon. With the sequin collar still face down, place one of the ribbon ends RS down on the back edge of the collar. Attach the ribbon with secure hand-stitches to the collar. Step four Place a second piece of backing felt on top of the WS of the collar, covering the stitched edge. Attach the felt with a few dots of fabric glue all around the edge of the felt piece. Step five Repeat the above steps to create the mirror-image collar piece for the other side of the collar. Step six Place both of the collar pieces RS up. Let the front edges slightly overlap each other. Sew the overlapping parts together with a few secure hand-stitches to finish. Lana is the founder of the DIY and lifestyle blog Lana Red Studio and wants to encourage everyone to be creative. When she's not behind her sewing machine or camera, you will probably find her cuddling with her cats or twirling around in one of her handmade dresses. www.lanaredstudio.com
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refashion
starting block Ready, set, sew! Raid your stash for jersey scraps and try Portia Lawrie's colour-block sweatshirt restyle.
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refashion 01
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PREPARING AND CUTTING OUT
Q A sweatshirt that fits you Q Scraps of jersey or knit fabric in a similar weight Q Matching thread Q Basic sewing kit
Step one Begin by unpicking the ribbing sections from the hem, neckline and cuffs using a seam ripper. We are retaining the original seam allowances so no cutting is involved. 01 Step two Next remove all of the remaining stitching. Essentially you are deconstructing the entire garment until you are left with its component parts. 02 Step three Press all of the pieces flat, including the seam allowances. Set all of the pieces aside apart from the front section you are replacing. We will use this as a template to create a new front section. 03
SELECTING THE FABRICS Step one Select your contrast jerseys in a colour or print combination you find pleasing. They should be of a similar weight to each other and the sweatshirt you are refashioning. 04 Step two We are starting with the top geometric section and working down, so decide on the arrangement of colours you would like on your finished piece at this stage.
MAKING THE GEOMETRIC SECTIONS Step one With the right sides (RS) together, pin the front section fabric template to your first piece of jersey. 05 Step two Flip the piece over. Cut away the excess fabric in line with the outer edges of your
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template piece. Step three Cut angled lines into the new fabric pieces to start forming geometric shapes. 06 Step four Sandwich the second piece of fabric between the template piece and your newly cut top section. Trace the angled lines you have just cut onto this new piece. Step five Cut away the excess fabric that falls outside your fabric template piece. Add a 5mm (Ÿin) seam allowance and then join the two pieces together. 07 Step six Repeat with a third piece of fabric. You can of course choose to incorporate more than three fabrics – just keep adding pieces of fabric until the new piece is the same size as your original template piece.
FINISHING THE SWEATSHIRT FRONT Step one Press the seams to one side as you go and edgestitch close to the seam lines. 08 Step two Once the new front piece has been assembled, pin the original front template piece to it again. Step three Trim away any final bits of excess fabric. Now you will have a front section that is an exact replica in size and shape of the original front piece. 09
ASSEMBLING THE SWEATSHIRT Step one Now we need to reassemble the garment in the usual way, using the original
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seam allowances as a guide. Step two With RS together, pin then sew the shoulder seams together using the original seam allowances. Step three With RS facing, pin the sleeve and side seams together. Step four Sew the pinned seam together in one pass along the sleeve and side seam. 10 Step five To reattach the ribbing place it RS together with the sweatshirt hem. Align the raw edges then sew the pieces together using the original seam allowance. Press. 11 Step six Repeat these steps to reattach for the cuffs and the neckline ribbing. 12
Edgestitch close to each seam in a matching thread colour for a neat finish.
MORE IDEAS TO TRY Try using different colour and texture combinations for each of the sections. Replace the sleeves or back with contrast fabric as well. Experiment with colour-blocking in stripes, triangles, or even curves! Replace the ribbing in a contrast colour around the hem, cuffs and neckline. Play with using the wrong side of your knit fabric for a contrast in texture. Try tonal blocking using different shades of the same colour.
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pretty neat Tidy away quilts, throws, craft supplies, toys and more in Debbie von Grabler-Crozier's durable oilcloth storage bags in two sizes.
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CUTTING OUT
Q Oilcloth fabric: 2mx160cm (2¼ydsx63in) Q Cotton webbing: 4cm (15⁄8in) wide x 2m (2¼yds) for handles Q Zip 90cm (36in) Q Zip 75cm (30in) Q Fray stopper Q Matching thread Q Basic sewing kit
For the larger bag: Step one From the oilcloth cut: Front/back panels: Two 66x61cm (26x24in). Side panels: Two 30x33cm (117⁄8x13in). Zip top panels: Two 15x89cm (6x351⁄8in). Zip end tab: 10x24cm (4x9½in). Step two From the webbing cut: Handles: Two 50cm (19¾in).
NOTES Q Supplies listed are for one bag. Q Use a 5mm (¼in) seam allowance. Q The fabric used is Fleurettes extrawide acrylic oilcloth in Chintz from Norfolk Textiles. Visit www.norfolk textiles.co.uk Q To make the small bag, follow the same instructions, but from the oilcloth cut out: Front/back panel: Two 53x51cm (207⁄8x201⁄8in). Side panel: Two 24x26cm (9½x10¼in). Top panel: Two 12x74cm (4¾x291⁄8in). Zip end tab: 10x24cm (4x9½in). From the webbing cut: Handles: Two 50cm (20in).
Step one Fold the zip end tab in half lengthways with right sides (RS) together and sew down the length. Turn RS out and finger press. Step two Topstitch twice down each side of the zip end tab to decorate. 01 Step three Cut the zip end tab in half to make two tabs. Fold in half so that the unstitched edges meet and secure with a stitch. 02 Step four Take the side panels and, with RS facing, pin then sew them together along the longer edges. This will be the base seam. Trim the seam allowance to neaten. Step five On the top corners of the side panels trace the curve of a teacup for curved corners. 03
MAKING THE ZIP TAB ENDS
APPROX FINISHED SIZES Large bag: 60 (W) x 50 (H) x 30cm (D). Small bag: 50 (W) x 40 (H) x 20cm (D).
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ATTACHING THE HANDLES Step one Trim the webbing ends and treat with fray stopper. Step two On the bag front piece measure in 20cm (8in) for the large bag or 15cm (6in) for the small
bag from each side edge and down 10cm (4in) for both bags. Mark the fabric at these points. Step three Stitch the handle ends to the bag front with a square and a cross in the middle at the marked points. Repeat on the back of the bag. 04
INSERTING THE ZIP Step one Place the zip and one top panel RS together and pin or clip into place. Step two Sew along the length of the zip, then flip the panel over and topstitch along the length of the zip. Repeat for the other side. 05 Step three Trim any oilcloth from under the zip. Step four Sew the zip end tabs to each end of the zip. The tabs must be right at the end of the zip on each end and then trim the whole panel to 30x91cm (117⁄8x357⁄8in) for the large bag or 24x75cm (9½x29½in) for the small bag. 06
ASSEMBLING THE BAG Step one Place the top edge of a side panel RS together with each end of the top panel, pin or clip, then sew. Finger-press then trim the seams. Step two Open the zip and work from the wrong side. Pin or clip the top edge of the front to the top panel RS together and sew. Repeat for the back. Step three Align the base seam in the centre of the bottom edge of a side panel. Pin or clip in place. Step four Sew together, backstitching at each end. Stop sewing 5mm (¼in) before the corners for a sharp finish. Repeat on the other side.
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FREE INSIDE!
16 festive gift tags & cards
Discover delicious recipes everyone will love, great ideas for ethical gifts, and beautiful, natural decorations. PLUS How to enjoy a family gathering without the stress!
Prickly character With its pom pom nose and rosy cheeks, Rebecca Reid’s appliqué hedgehog cushion is full of personality.
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h dg hog cushion 01
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CUTTING OUT
Q Main body fabric: 70x45cm (28x18in) Q Spines background fabric: 30x30cm (12x12in) Q Spine and face fabrics: 30x40cm (12x16in) Q Eye fabric: 5x5cm (2x2in) Q Cheek fabric: 8x8cm (3½x3½in) Q Pom pom: 3cm (1¼in) diameter, for the nose Q Bondaweb: 80x90cm (32x36in) Q Polyester fibrefill Q Matching thread Q Basic sewing kit
Step one Download and print the template. Cut around the outer line of the hedgehog. Step two Fold the main body fabric in half widthways with wrong sides (WS) together then place the hedgehog template centrally on top. Step three Draw a 1cm (3⁄8in) seam allowance outside the edge of the template all the way around then cut it out. Unpin the template. 01
NOTES Q Download the template from www. simplysewingmag.com/downloads Q Use a 1cm (3⁄8in) seam allowance.
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MAKING THE APPLIQUÉ SHAPES Step one Turn the hedgehog template over and on the other side trace around the outlines of each of the templates. The templates need to be traced in reverse so they are the right side (RS) up when you appliqué them into place. If you can’t see the printed template lines from the back of the paper then hold it to a window. Step two Place the Bondaweb on top of the reversed hedgehog template and trace: one spine background, 21 spines, one face, one eye and one cheek. Leave at least 1cm (3⁄8in) between shapes. The spines aren’t all exactly the same size so it’s easier to number the spines on the template then again on the Bondaweb when tracing them to help with positioning. Step three Cut out each of the templates roughly outside the drawn lines. Step four Place the Bondaweb shapes on the WS of each of the fabrics. Press into place with a dry, medium-heat iron until they are firmly stuck. 02
Step five Cut out all the shapes along the traced lines. Cut accurately so they are a neat shape. 03
WORKING THE APPLIQUÉ Step one Take the cut-out main body piece, which has the nose facing left, and lay it RS up. Step two Peel off the paper backing from each of the appliqué shapes. Step three Place the spines background and the face onto the main body (refer to the template for correct positioning) then press into place. Step four Stitch these into place using matching thread and a straight stitch, just inside the cut edge. This will secure the appliqué shapes in place and also add a little decoration. 04 Step five Repeat this to position and stitch the spines, eye and cheek into place. 05
ASSEMBLING THE HEDGEHOG Step one Pin the two main body pieces RS facing. Sew all the way around, leaving an 8cm (3¼in) gap in the centre of the bottom edge. Step two Snip the curves, taking care not to cut through the stitching. Step three Turn the body RS out and press so the seam lies right on the edge. Fold the edges of the turning gap to the inside and press. Step four Stuff the hedgehog fairly firmly. Push stuffing into the face and nose until well filled. Step five Slip stitch the turning gap closed. Step six Sew a pom pom to the nose tip. 06
away game
Make a fold-up backgammon set for fun and games at home and away. ZoĂŤ Patching shows you how.
backgammon s t YOU WILL NEED For the backgammon board Q Fabric A: 91x65cm (36x26in), for the board front, central bar and bag lining Q Fabric B: 91x57cm (36x22in), for the board back and bag outer Q Fabric C: 25x33cm (10x13in), for the dark triangle points and counters Q Fabric D: 25x33cm (10x13in), for the light triangle points and counters Q Bias strip: 150x4cm (60x2in), see instructions for details Q Bondaweb: 25x40cm (10x12in) Q Narrow webbing: 2m (2¼yds), for the tie closure Q 30 self-cover buttons, 22mm (7⁄8in) in diameter Q Erasable fabric maker Q Matching thread Q Basic sewing kit
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BACKGAMMON EXPLAINED A backgammon board is divided into four parts and each player has an inner table (their right side of the board) and an outer table (their left side of the board). Each table is divided into six ‘points’ which refers to the alternate light and dark triangular shapes, and ‘points’ on opposing tables are contrasting in colour. Running down the centre of the board is the ‘bar’ which separates the inner and outer boards.
CUTTING OUT Step one From Fabric A cut: Board front: 39x31cm (153⁄8x12¼in). Central bar: 42x6cm (16½x23⁄8in). Bias strips: 4x150cm (15⁄8x60in). If you do not have enough fabric to cut strips in this length you can cut strips in smaller lengths and stitch them together with diagonal seams (see instructions for making the binding). Step two From Fabric B cut: Board back: 39x31cm (153⁄8x12¼in). Step three From the Bondaweb cut: Points: 23x15cm (91⁄8x6in). Central bar: 42x6cm (16½x23⁄8in). Step four From the outer fabric cut: Drawstring bag outer: Two pieces measuring 23x18cm (9¼x71⁄8in). Step five From the lining fabric cut: Drawstring bag lining: Two pieces measuring 23x18cm (9¼x71⁄8in). Step six Cut the narrow webbing into two 50cm (20in) lengths.
MAKING THE POINTS Step one Press the Bondaweb for the points to the wrong side (WS) of Fabrics C and D. Do not use steam when pressing. Step two Draw a 20.5x12cm (81⁄8x4¾in) rectangle onto the paper backings of each piece. Divide the rectangles into triangles measuring 2.5cm
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(1in) across the base and 12cm (4¾in) along the long edges. You will need a total of 12 triangles in each fabric colour. For neat and precise cut edges use a quilting ruler and a rotary cutter.
ATTACHING THE POINTS Step one Start to position the coloured points from the right-hand side of the board, starting with the light colour. Remove the paper backing and match the first light point with the bottom edge of the fabric, 1cm (3⁄8in) from the righthand edge of the fabric. Press in place. 01 Step two Position a darker point next to the first light point, with the bottom of the points touching, and press in place. Step three Repeat to complete the inner table of the board so that there are a total of six points alternating in colour. Step four On the outer table, work from the left-hand side of the fabric board. Start with a dark-coloured point, matching the base of the point with the bottom edge of the fabric board and leaving a 1cm (3⁄8in) margin from the left side of the fabric as before. Press in place. Step five Turn the board around and repeat on the opposite side. Step six Double check that all points are alternate in colour, and opposing points are contrasting colours. Step seven Press the Bondaweb for the central bar to the WS of the central bar Fabric A strip.
Draw a 39x3cm (153⁄8x1¼in) rectangle onto the paper backing and cut out with a rotary cutter and quilting ruler. Remove the paper backing and position centrally between the inner and outer tables of the fabric board. Press in place. Step eight Machine-sew each side in place with a simple straight stitch for added security. 02
MAKING THE BINDING Step one To join binding strips to create a 150cm (60in) strip, first place two strips with right sides (RS) together and at right angles. Step two Draw a diagonal line along the fabric grain and then stitch together. 03 Step three Fold the bias tape in half WS together and press to make a crisp fold line. Unfold and then fold the long fabric edges in to meet the central fold, WS facing, and press.
SEWING THE BINDING Step one Position the tape along the edge of the fabric board. Starting along the short side of the fabric board, place the tape right side (RS) down on the board front, matching the raw edges, and pin or clip into place. Step two Leaving a 5cm (2in) tail end of tape unstitched, start to sew along the fabric fold line closest to the fabric edge. 04 Step three To mitre the corners of the binding, continue stitching towards the first corner and stop 1cm (3⁄8in) from the fabric edge. With the
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machine needle down, raise the presser foot and pivot the fabric, lower the presser foot and then sew towards the corner, making a diagonal stitched line – this will create the mitred corner. Step four Raise the presser foot and fold the bias tape back against the diagonal stitched line. The binding will be folded at a 90-degree angle, facing away from the board edge. With the diagonal fold held in place, fold the tape back on itself towards the board fabric. The folded edge of the binding should line up with the edge of the board, matching the edges of the fabric board as shown here. 05 Step five Begin stitching again at the very edge of the fabric at the fold. This will hold the corner in place as well as stitching the second edge of the board in place. Continue to machine along the bias tape fold, mitring the remaining corners in the same way as you go. Step six Finish the tape by overlapping the starting and finishing ends. With the tape ends flat against each other use an erasable fabric marker to mark a stitch line on the starting tape and a matching line on the finishing length. Remove from the machine, and with RS of the tape together, stitch along the drawn lines. Trim the seam allowance to 5mm (¼in). Step seven Place the joined tape flat against your board fabric and finish by machine stitching along the fold line. Remove from the machine and then fold the tape around the
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fabric board edge to conceal the raw edges – use fabric clips to hold this in place. Complete the corners by making a neat diagonal fold to the reverse. Step eight Topstitch along each side close to the tape edge as shown here. The final step is to stitch the webbing along the short side of the board for tying. 06
MAKING THE DRAWSTRING BAG Step one Place the bag lining fabric RS together and with a seam allowance of 1cm (3⁄8in) sew along both sides and along the bottom edge, leaving an opening for turning. Backstitch at the start and end of your stitching to secure. Step two On the outer bag fabric, measure and mark 3.5cm (13⁄8in), and 6cm (23⁄8in) from the top edge of the fabric on both sides. Step three Machine-stitch from the top of the fabric along one side, leaving the channel opening unstitched. Continue stitching along the bottom edge and then stitch back up the other side, leaving the channel unstitched again. Press the seams open. 07 Step four Turn the lining RS out and place this inside the outer so they are RS together. Match up the seams and the top fabric edges and pin in place. Machine-stitch the top edge together with a 1cm (3⁄8in) seam allowance. 08 Step five To turn the bag RS out, pull the lining fabric from inside the outer fabric. Open the
gap left in the lining fabric and push the outer fabric through the opening. 09 Step six Machine-stitch the opening together to close, or slip stitch it closed by hand. Give the fabric a press to smooth the seams and creases, and then push the lining inside the outer fabric and press. Step seven With an erasable fabric marker, mark two lines across the fabric from the opening marks along both side seams – do this on the front and back side of the bag. Sew along each line to create a channel. 10 Step eight Attach a safety pin to the narrow webbing end and feed it through the channel to loop from one side to the other and back to your starting point. Tie the ends together. Repeat on the other side. Step nine Make 30 counters by covering selfcovered buttons (snip off the plastic shanks if necessary). You will need two different fabrics, to make 15 counters from each.
TIP: in the same
tons t u b f you d i d s r e t Use o n e cou h t r o f ones. d e r e v colour o elf-c s e v a h don't WWW.SIMPLYSEWINGMAG.COM 75
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a good read Minki captures the minutiae of everyday life with her machine embroidered artwork.
THE BEAUTIFUL ORDINARY Designer Minki Kim is all about celebrating the beauty of the everyday through stitching. We chat to the formally trained artist turned self-taught sewist about her inspiration, family life and love of zakka. Written by Sarah Dawson.
ometimes a designer comes along with such a strong aesthetic that you only need to take one look at a project and you'll instantly know who’s behind it. Minki Kim is one such creative, with a signature style we are completely in love with. You might have spotted some of her designs in our Handmade Christmas project booklet with issue 48, but if you’re not familiar with Minki’s work, prepare to become obsessed! Her Instagram feed – www.instagram.com/zeriano – is seriously
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beautiful, featuring hundreds of projects and fabric designs that are packed with charm and the most incredible attention to detail. A quick warning: make sure you have a lot of time spare before you take a look, as we guarantee you’ll get lost in the wonderful world of Minki Kim when you do! Originally from Korea, and now living in Orange County, California, Minki juggles being a mum to three young girls, as well as carving out an impressive creative career. Her passion lies with, what she calls, sewing
illustration – the art of turning a simple sketch or a more considered drawing into stitches, an approach that isn't surprising given her artistic background. For as long as she can remember, art has been part of Minki’s life: “My mum says that as soon as I started to grab a pencil I never let go! I spent my entire childhood drawing and attending art class after school, then studied sculpture at Seoul University. I have always loved hand sewing, like making clothes for my dolls and working on zakka projects
a good read Below: As well as creating her beautiful stitched pieces, Minki designs swoonworthy fabrics for Riley Blake Designs.
when I was younger, but art was my passion.” Her family were also very creative, with her mum always making something and her dad a professional tailor – “He could sew better than anyone in the family!” she laughs. But it wasn’t until she moved to America, when she got married around 16 years ago, that she really caught the sewing bug. “After I had my first child, I decided to give sewing a try. I wanted to prove to myself that I could do something besides being a stay-at-home mum – but at the time I didn’t think my hobby would turn into my career,” Minki explains. “I had my sewing machine, but I was a bit scared of it – it was the noise it made and how fast it would go when you press the pedal! I stuck to hand sewing for almost two years before I got curious and decided to give it a go, starting with some very simple projects.” It turned out the sewing machine wasn’t as scary as she first thought – “Now, I definitely prefer machine embroidery as it’s so much faster, but I’m always in awe of people’s hand embroidery” – and Minki soon started to develop her own unique, inimitable machine embroidery style, transforming her charming
illustrations into something very special and very personal. EXTRAORDINARY EVERYDAY Minki’s work has always had family at the heart of it. “I wanted to capture my three girls’ childhood – even the little everyday things – in any form I could. I have always loved taking pictures and making scrapbooks with photos of my daughters, but wondered if I could recreate these pictures in a more artistic format. To be honest, the sewing machine was a very efficient tool for doing this, when I didn’t have enough space for painting! Also, a drawing doesn’t last forever, so I thought, why not stitch it?” Minki started to transform these precious family photos into the most enchanting stitched pieces. “I would just take a photo on my phone, turn it into a rough sketch, then transfer this onto fabric,” she says. As well as this, Minki had the inspired idea to turn her daughters’ drawings into stitches, too. Instead of sticking drawings to the fridge for a week, before either storing them away (or even throwing them in the
"ONE OF MY FRIENDS SAYS MY STYLE IS WHIMSICAL, AND I LIKE THAT A LOT. I’M THE KIND OF PERSON WHO PREFERS WILD FLOWERS TO FLOWERS IN A SHOP."
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a good read
Left: Working in her bright home office allows Minki to fit her designing, stitching and book-writing around family life: “Working from home is bad, because it’s hard to call it a day, but also good because you don’t need to take a break when you do what you love.” Below: Minki transforms her children's sweet drawings into treasured keepsakes by embroidering them.
bin!) like most of us, Minki decided to capture the innocence of these sweet drawings forever. There’s something so poignant, nostalgic and very, very cute about seeing kids’ drawings – think funny stick people bodies with giant heads – immortalised into a treasured stitched keepsake. It’s this celebration of the everyday that really defines Minki’s style, something that can be summed up by her love of zakka. Zakka is Japanese for ‘miscellaneous things’ and is a term that refers to ‘everything and anything that improves your home, life and appearance’. It’s been dubbed ‘the art of seeing the savvy in the ordinary and mundane’ and it’s easy to see how this is reflected in Minki’s work, with her glorious Instagram feed full of endearing stitched designs of coffee pots, sewing machines and floral bouquets. Minki chooses to celebrate the things many of us don’t even notice, and has a wonderful skill of turning a simple shelf still-life or a desk and table into an idyllic, captivating scene through stitches. SKILLS SHARING Around the time Minki began experimenting with her sewing machine, she also set herself a challenge. “I wanted to keep coming up
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with new designs and making a project every day, just like it was my job,” she smiles. She set up a blog – www.minkikim.com – and uploaded her projects with lots of step-bystep pictures, and soon her following grew. The decision to share her patterns was an easy one, as she explains: “I have always believed that sharing helps me grow and makes me keep trying – and I’m learning every day that I was right about that!”
“YOU DON’T NEED TO BE AN ARTIST TO DRAW WITH THREAD. FIRST, DRAW LARGE AND SIMPLE MOTIFS, LIKE A TRIANGLE AND A SQUARE. SEE? YOU JUST DREW A HOUSE!" Minki’s blog caught the attention of craft magazines, who were keen to collaborate with her, and it’s been a bit of a whirlwind from there. She’s the proud author of two sewing books, with a third on the way – no mean feat for someone whose first language isn’t even English! Her first book, released in 2016, is Sew Illustrated, featuring 16 zakka projects made using free-motion stitching
and appliqué. Her second, Diary in Stitches, was published in August and was met with rave reviews, but how did it come about? “I am a girl who always likes to set a goal and try to achieve it,” she smiles, “so I set up a goal to do a drawing a day, after my first book was published. Once I’d finished my sketchbook, I turned them all into sewing illustrations,” and 65 of these ended up in Diary of Stitches. The result of her daily sketchbook challenge has created an inspiring and accessible book, packed with drawings you can mix and match to make useful and pretty projects, like a wallhanging, zip pouch or pillow. “I like to think the book will help those people who suffer from ‘what should I draw?’” she laughs. There’s a definite, unmistakably ‘Minki’ look running through all of her illustrations, books and Instagram. “One of my friends says my style is whimsical, and I like that a lot,” she smiles. “I’m the kind of person who prefers wild flowers to flowers in a shop, or an old, used mahogany desk, rather than a brandnew desk.” When she works, there’s always a natural flow. “Most of the time I draw first and then decide what to make with the illustration – that way, the size of my projects tends to depend on the size of my drawing,”
a good read Below: Minki's two successful books, Sew Illustrated and Diary in Stitches, were both influenced by her love of the Japanese zakka concept, which refers to ‘everything and anything that improves your home, life and appearance’. Her third, also zakka-inspired and due out in November 2019, will feature “unique but easy to make projects. I’m very excited to share them, when it’s time!”
she says. “I always recommend that you should save all of your practice pieces, as it could turn out to be a charming patch for one of your future projects.” With a background in art, it’s no surprise that Minki’s illustrations are beautiful, but is sewing illustration something even non-arty folk can attempt, too? “Definitely!” enthuses Minki. “You don’t need to be an artist to draw with thread. First, try to draw large and simple motifs, like a triangle and a square. See? You just drew a house! Then you can add a window, a chimney or a door knob, and it all starts coming together. You will surprise yourself that you can draw anything you want to draw, with a little bit of practise.” As well as designing projects for craft magazines, writing her books and keeping her blog up-to-date, Minki also has her own fabrics with Riley Blake Designs, which you can find in her online pattern shop (www. sewingillustration.com). “I decided to take a chance and submit some of my artwork about three years ago. I was so happy when I got accepted. I now have three collections, with another, Someday, due around February 2019.” The fabrics are as lovely as you would expect; an utterly charming collection of cute
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patterns with a bit of a retro vibe. Working on her collections is a dream come true. “I am always thinking about designs, whether I’m awake or asleep!” she laughs. “I still can’t believe my drawings get turned into fabric, someone sews with them and gives it to someone special. How cool is that?” SIMPLE PLEASURES With so much going on, Minki fits working life around family life. “Working from home is bad, because it’s hard to call it a day, but also good because you don’t need to take a break when you do what you love,” she smiles. “I’m a morning person, so when my family leave to go to school and work, I try to clean the kitchen, have a cup of coffee and a plate of sweet treats, then sit down at my sewing machine or my computer to work. I do love it when my little girl is playing next to me as I work. The way she plays with her dolls really makes me smile, and it often inspires my next project, like a lunch bag or a doll for her.” Currently creating her third book, Minki’s still bursting with ideas. “It's all about zakka projects and will be out in November 2019,” she explains. “I’ve tried very hard to design unique but easy to make projects and I’m
very excited to share them, when it’s time!” Minki’s main plan for the future is, in her typically endearing style, to enjoy the simple things. “All I wish for the future is that my family stays healthy. Other things come eventually, when you can wake up in the morning and go to bed at night healthy, don’t you think?” In today’s throw-away world, there’s a lot to be said for this way of thinking – and, as Minki proves, all you need is a pencil, fabric and sewing machine to turn your everyday into something beautiful. See more at www.minkikim.com
TRY MACHINE EMBROIDERY Get started on your creating your own machine-embroidered art with Minki's two books: Sew Illustrated by Minki Kim and Kristin Esser (£17.99) and Diary in Stitches by Minki Kim (£21.99), both published by Stash Books. Visit www.ctpub.com
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happy meal Made from simple log cabin blocks, you’ll have Lousie Orth’s patchwork placemat and coaster set sewn in time for dinner.
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p ac mat s t YOU WILL NEED
01
02
03
04
Q Fabric A: 20inxWOF Q Fabric B: 6x6in Q Fabric C: 1x Fat 16th Q Fabric D: 1x Fat 16th Q Fabric E: 1x Fat 16th Q Wadding: 20x30in Q Backing fabric: 20inxWOF Q Basic sewing kit NOTES Q Cutting and assembly instructions are for two placemats and two coasters. All cutting instructions are width x height. Q Seam allowances are ¼in, unless otherwise noted. Q FQ = fat quarter (18x22in). Q Fat 16th = fat sixteenth (9x11in). Q WOF = width of fabric. FINISHED SIZES Q Placemats: 14x9½in. Q Coasters: 5x5in.
CUTTING OUT Step one From Fabric A cut: Filler squares: Eight 5x5in squares. Binding: Four 2½in x WOF strips, for the binding. Step two From Fabric B cut: 1st section square: Six 15⁄8x15⁄8in squares. Step three From Fabric C cut: 2nd section square: Six 15⁄8x15⁄8in square. 2nd section rectangle: Six 2¾inx15⁄8in. Step four From Fabric D cut: 3rd section small rectangle: Six 15⁄8x2¾in. 3rd section large rectangle: Six 37⁄8x15⁄8in. Step five From Fabric E cut: 4th section small rectangle: Six 5x15⁄8in. 4th section large rectangle: Six 15⁄8x37⁄8in. Step six From the wadding cut: Placemat wadding: Two 16½x11½in. Coaster wadding: Two 6x6in squares. Step seven From the backing cut: Placemat backing: Two 16½x11½in. Coaster backing: Two 6x6in squares.
MAKING THE LOG CABIN BLOCKS You will need to make a total of six log cabin blocks, two per placemat and one per coaster. Each coaster will be a single block and the placemats will use two blocks each at opposite corners. The blocks are made in the same way. Step one Sew a Fabric C 2nd section square to the left of a Fabric B 1st section square. 01 Step two Along the top long edge, sew a Fabric C 2nd section rectangle. 02 Step three Then, to the left edge, sew a Fabric D 3rd section small rectangle. Step four Stitch the Fabric D 3rd section large rectangle to the top. 03 Step five To the left of these pieces stitch a 4th
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section small rectangle. Step six To finish off sew a 4th section small rectangle to the top. 04 Step seven Repeat five more times to create all six blocks. Note that if you are using directional fabric, for one block per placemat you will need to sew the fabric strips so that the direction of the fabric is ‘upside down’. This will mean that when it is rotated for the bottom right corner the print is facing in the correct direction.
ASSEMBLING THE MAT AND COASTER Step one Join the log cabin blocks with the Fabric A filler squares using the layout diagram for guidance. Step two To make a quilt sandwich for each coaster and placemat, layer up the finished top, the batting underneath and the backing on the bottom, with the wrong side (WS) of the top and backing touching the batting in the middle. Step three Tack the pieces together and then quilt as desired. We have chosen horizontal and vertical lines.
BINDING THE MAT AND COASTER Step one Make the binding by cutting two of the Fabric A binding strips down to 30in in length. These will be your binding strips for the coasters. The remaining two strips will be the binding for the placemats. Step two Press each binding strip in half along
the long edge with WS together. Step three Line up the raw edge of the binding to the raw edge of the placemat or coaster. Leaving a tail of approx 2in, attach the binding using a ¼in seam allowance. Mitre the corners of the binding as you sew. Step four When you have reached the end, mark the position where the binding ends meet and then sew the ends with WS together along the marked points. Step five Trim away any excess binding from the ends and sew the rest of the binding in place. Step six Fold the other binding raw edge to the underside and hand-stitch or machine topstitch in place to finish.
LAYOUT DIAGRAM
Take your patchwork and quilting skills to the next level.
Feeling inspired by our simple patchwork placemats on page 82? Take your skills to the next level with this contemporary quilt design by Caroline Hadley. Inspired by the stepwells of India, she's combined striking strips and glimmering metallics to piece this unique design. Made from a swoonworthy selection of fabrics from Cotton + Steel's Netorious, Sprinkle and XOXO collections, it's a step-up from your boring duvet! Find the pattern in Love Patchwork & Quilting issue 68, out now. See more at www.lovepatchworkandquilting.com
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coffee culture Pick up a cofee sack along with your morning cup and make R&B Designs’ thrifty tote bag lined in ticking stripes.
coff sack bag 01
02
03
04
YOU WILL NEED
CUTTING OUT
ASSEMBLING THE BAG
Q Coffee sack Q Ticking fabric: 50x70cm (20x28in), for the lining and base Q Webbing: 140x3.5cm (55x13⁄8in), for the straps Q Erasable fabric marker Q Matching thread Q Basic sewing kit
Step one From the coffee sack cut: Bag outer: Two 45x38cm (17¾x15in). Step two From the ticking cut: Bag base: Two 45x14cm (17¾x5½in). Bag lining: Two 45x52cm (17¾x20½in). Step three From the webbing cut: Straps: Two 70cm (275⁄8in) long.
Step one With the bag outer RS out and the lining wrong side (WS) out, place the bag outer inside the lining. Pin around the top edge. 03 Step two Sew together, making sure not to catch the straps in the stitching.
MAKING THE OUTER AND LINING NOTE Q Use a 1cm (3⁄8in) seam allowance unless otherwise stated.
Step one With right sides (RS) facing, pin and sew one coffee sack bag outer piece and one ticking bag base along the longest edge. 01 Step two Repeat with the other bag outer and bag base pieces. Place the two assembled bag outer pieces together with RS facing. Step three Place the lining pieces RS together. Pin both long edges and one short edge. Leave a turning gap of 20cm (8in) on the short edge. Step four Sew the lining pieces together, backstitching at either side of the turning gap.
MAKING THE BOXED CORNERS Step one Pull the bag outer out from the bag lining – both bags should be WS out. Step two On the outer bag measure 4.5cm (17⁄8in) from the base corner along the side seam and the base seam and mark these points. Step three Pinch the side seam and the base seam of the outer bag base together at the marked points and pin. 04 Step four Sew a straight line across the corner running through the marked points. Step five Clip off the corner and repeat with the remaining corners of the outer bag and lining.
FINISHING OFF MAKING THE HANDLES Step one Mark the centre of the top edge (the unsewn edge) on both sides of the bag, then measure 5cm (2in) either side from the centre and mark again. Step two With the raw edges of the strap aligned with the raw edge of the bag, pin in position on the outer marks. Repeat with the other strap and outside piece. 02
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Step one Pull the outer bag through the turning gap in the base of the lining. Step two Sew the turning gap in the lining. Step three Smooth out the top edge of the bag. Measure 2cm (¾in) from the top edge all the way around and mark all the way around. Step four Pin along the 2cm (¾in) marked line. Step five Topstitch along this line to secure the lining inside the bag.
FRESH IDEAS WITH FABRIC
The guide
PinKing SheArs These cut a zigzag edge on fabric to neaten.
ma on, useful stitches and key sewing techniques on these pages.
MarKing pen Transfer markings to your fabric, then wash them out when finished.
Tape MeaSure
Pins
A flexible fabric tape measure will take accurate measurements.
Stainless steel pins with sharp points are best.
SheArs Keep a pair of sharp shears just for cutting out your fabric.
FabRic CliPs Use these instead of pins when sewing thicker fabrics.
MarKing PenCil Choose a colour that shows up on your fabric.
SmaLl SciSsors Use for snipping threads and cutting notches.
TaiLoR’s ChaLks Chalk temporarily marks fabric and can be easily brushed away.
ThiMble Wear to protect your fingers when handstitching.
Seam RipPer This sharp blade cuts through and unpicks stitches.
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FRESH IDEAS WITH FABRIC
The guide HeiGhT
HOW TO MEASURE YOURSELF ACCURATELY ALWAYS MEASURE YOURSELF BEFORE you choose a pattern size to cut out. The sizes do vary greatly from pattern to pattern, so it’s always best to measure yourself accurately and then refer to the pattern’s size chart to find your size. The chart will usually be printed on the pattern envelope or on the instructions inside. Measure yourself in your underwear and preferably in the bra you’ll be wearing underneath
your garment as this can alter the measurements slightly. Use a fabric tape measure as it’ll curve around your body well for accuracy. You can measure on your own if you stand in front of a mirror, but, for best results, ask a friend to help so they can check the tape measure is sitting in the right places. Make sure the tape measure sits snugly around you but is not pulled tight. Take the measurements shown in the diagram and note them down.
HOW TO USE A PATTERN Preparing your fabric and cutting out your sewing pattern accurately is just as important as the actual sewing. Wash your fabric before you begin as fabric can shrink and run. Once dry, press it well. PREPARING THE PATTERN Patterns often come with several options of different finishes so you may have more pieces than you need. The instruction sheet will tell you which pieces to use. Roughly cut out all of the pieces outside the lines then press the pieces using a dry iron on a low heat to remove the folds and creases. CUTTING OUT THE PATTERN Choose your size using your measurements and the size chart. Cut along the corresponding lines on your pattern. When you reach any fiddly curves, take care to cut along the correct size lines. CUTTING LAYOUTS Choose the correct one for the width of fabric you’re using, the
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size you’re cutting and the style of garment. Many patterns have more than one option (or view) and each one can have a different layout. CUTTING OUT Lay your fabric flat and smooth it out. Fold or place the fabric as shown on the cutting layout. Lay the pattern pieces in the order and right side or wrong side up as shown. Check to make sure that the grainlines on the pattern are parallel with the selvedges by measuring. Pin your pattern pieces carefully in place and cut around them through the fabric using a pair of dressmaker’s shears. TRANSFERRING MARKINGS The markings on the pattern pieces need to be transferred to the fabric. They’re really important for matching up fabric pieces later and for positioning elements such as darts and pockets. You can mark these with chalk, fabric markers, snips on the fabric, or with small tacking stitches.
Back WaiSt LenGth From the top of your spine at the base of your neck to your natural waist
Stand against a wall, barefoot, then measure from the top of your head to the floor
High Bust/CheSt Across the back, under your arms and above the bust
Bust Around the fullest part of your bust
WaiSt Your natural waistline, around the slimmest part of your waist
Hips Around the fullest and widest part of your thighs and bottom
PATTERN MARKINGS Pleats: These lines are matched Arrows: Grainline arrows are used up to create pleats on the cut to show which direction to pin the out fabric pieces. pattern on the fabric. The grainline runs parallel to the fabric edge.
Darts: These lines are for matching up to create darts within the fabric pieces.
Notches: Shown as triangles or small lines, these are marked on the edges and are mainly used for matching up pattern pieces.
CHOOSING AND BUYING FABRICS IT’S IMPORTANT TO CHOOSE the correct fabric for your pattern. Most patterns give suggested fabric types that will work best with the style of garment. Use this to guide you as some patterns need more drape, body or structure than others. Fabric can be made from natural fibres such as cotton, linen, wool and silk or synthetic fibres such as acetate, acrylic, nylon, polyester, rayon and viscose. All these fabric come in different weights, or thicknesses, which suit different garments. Lightweight fabrics are ideal for lingerie, nightwear and summer clothing, and include cheesecloth, chiffon, crepe-de-chine, georgette, lawn, muslin, organdie, organza and voile. Medium-weight fabrics, which work for dresses, shirts, trousers and childrenswear, include calico, cotton, crepe, dupion, linen, poplin and finer wool. Heavy-weight fabrics are used for garments or projects needing more strength, like coats, jackets, winter wear and bags. Canvas, corduroy, denim, tweeds, velvet and wool are all in this category. Some patterns require fabrics that are quite fluid and have a good drape to make them hang properly, such as a circle skirt or blouse. Synthetic or synthetic mix fabrics such as rayon, challis, chiffon or lightweight jersey have a better drape to them. Stretch and knit fabrics such as jersey and lycra are virtually crease free and comfortable to wear. They
can be bought in a variety of thicknesses and qualities depending on their use but are ideal for sportswear and casual clothing. Interfacing gives an extra layer of support to your fabric – for example, to stiffen facings and collars. Choose an interfacing that’s slightly lighter than your main fabric, and if you’re using a fusible (iron-on) option then always test it on a scrap of the fabric first as it can melt if the iron is too hot. Interfacing is available in different weights and as an iron-on (fusible) or sew-in version. With fusible interfacing, press the shiny side to the wrong side of your fabric. Tack sew-in interfacing to the wrong side of the fabric pieces around the edges. If you’re buying fabric off a roll (or bolt) then you’ll usually buy it by the metre. This is only the length of the fabric you’re buying – the width depends on the width of the roll. Fabrics are sold in standard widths, which vary according to their purpose – for example, dressmaking or quilting fabric generally comes in standard widths of 112cm (44in) or 150cm (60in). Curtain or soft furnishing fabric is normally 137cm (54in) wide and is really useful for bags and aprons as it’s thicker and stronger than dressmaking fabrics. The fabric requirements on the pattern instructions will tell you what length of fabric to buy, usually with two width choices. Some patterns, such as large circle skirts, can only be cut from the wider fabrics.
MACHINE NEEDLES
There are many diferent needle types and they vary by the shape of the point, eye and shaft thickness. Choose the correct one for smooth stitching.
UniVeRsal A great multi-purpose needle which can be used for woven fabrics and has a slightly rounded point for stitching knit fabrics, too.
ShaRps With a sharp point, these are for sewing very fine and delicate fabrics and neat buttonholes.
QuiLting This will pierce multiple layers whilst keeping straight stitches so it is ideal for patchwork and machine quilting.
LeaTher Ball PoiNt This needle has a more rounded point than the universal needle so you won’t get snags, ladders or holes. Perfect for knit fabrics.
This needle’s wedge-shaped cutting point is used to work strong seams on non-woven fabrics like leather, suede and vinyl.
StrEtch JeaNs A strong needle, ideal for stitching several layers of fabric or tightly woven fabrics like denims.
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Designed for sewing two-way stretch knits such as lycra and silk jersey. It prevents skipped stitches on fine knit fabrics.
TopStItch This has an extra-sharp point and eye, so thicker topstitching thread can be used. It’s perfect for straight stitching with thicker threads on any type of fabric.
Twin Used for parallel rows of stitching such as pintucks and hems.
ONCE YOU HAVE FINISHED stitching your seam, it’s best to press it open on the wrong side so it lies flat. Sometimes it’s better to press it to one side to reduce bulk but the pattern instructions will tell you this. Usually the seam allowances are left as they are as they help to strengthen the seam, but sometimes they cause too much bulk so they are trimmed to half their original width. If your fabric has a tendency to fray you should neaten the raw edges after you have worked the seam. There are several ways of doing this. To machine-finish them, set your sewing machine to the zigzag stitch then stitch close to the raw edge all the way along. The zigzag must be small enough to stop the fabric from fraying but large enough to enclose the bulk of the fabric. Practise a few lengths and widths before you begin. Alternatively, you can trim the raw fabric edges with a pair of pinking shears. If you have an overlocker then you can stitch, cut and finish the seams all in one process.
UK SIZE
US SIZE
FABRIC
60
8
Silks
70
10
75
11
80
12
90
14
100
16
110
18
120
20
Lightweight fabrics Medium weight fabrics Medium weight fabrics Medium weight fabrics Heavy weight fabrics Upholstery fabrics/denim Heavy canvas
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FRESH IDEAS WITH FABRIC
The guide GLOSSARY
For a full glossary of sewing terms visit www.simplysewingmag.com
DraPe A term used to describe the way a fabric hangs under its own weight. Different fabrics have different drape qualities.
Ease The addition of extra fabric in a pattern to allow the finished garment to fit the body well.
EdgEsTitCh A row of stitching on the very edge of a garment, usually 2-3mm (1⁄16-1⁄8in) from the folded or seamed edge. Used to hold the fabric edge neatly in place.
FacIng This pattern piece is cut separately to stabilise and create a neat finish on the edge of a garment, such as the neckline.
fat QuaRter A term used to describe a cut piece of fabric often used for patchwork projects, usually measuring 46x55cm (18x22in).
FinIsHing/NeaTeNing raw EdgEs This is done to stop the fabric edges, particularly of a seam, from fraying. It can be done by machine zigzag stitch, using an overlocker or trimming the raw edge with pinking shears.
GraIn/GraInLine The lengthwise fabric grain, running parallel to the selvedge.
nap Fabrics like velvet, corduroy and fur have hairs or loops which all lie in one direction and are called the nap, or pile. When cutting out pattern pieces make sure the grainline arrow always runs in the direction of the nap.
NotIons Small tools or accessories used
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in sewing such as zips, fasteners, lace and buttons.
STITCH GUIDE Use these basic hand stitches to complete your home and dressmaking projects.
RigHt Side (rs) / WroNg Side (ws) The right side of the fabric, also called the ‘public’ side, has the design on it. The wrong side is the other side – this is usually a little duller or faded on plain fabrics.
Seam AllOwAnce The fabric between the raw or cut edge of the fabric and the seam is called the seam allowance. Your pattern will tell you the required seam allowance measurement. This is usually 1.5cm (5⁄8in) for dressmaking, but can vary.
SelVedge The finished woven edge of fabric, often with the fabric name printed on it. The grain runs parallel to this and the bias diagonally. Called selvage in the US.
StaYsTitChing A line of regular machine stitching usually worked 3mm (1⁄8in) inside the seam line, often used to stabilise curved edges to stop them stretching out of shape.
Tack/TacKing A line of temporary stitching used to hold fabric pieces together before machine sewing, worked in the same way as running stitch. Known as basting in the U.S.
TopStItcHing A line of stitching worked 5mm (¼in) from the folded or seam edge. Used to hold the seam in place and as a decorative finish.
UndErStiTcHing A line of stitching worked through the facing and seam allowance 3mm (1⁄8in) from the seam to stop the facing rolling to the outside of the garment. Understitching will not be visible on the outside.
LadDer StiTch Used to join together and close 2 3 5 two turned-under edges invisibly, such as on a dress lining or soft 1 toy. Bring the needle up at 1 on 4 one side of the seam, then in at 2 on the opposite side and out at 3, so the stitch is 3mm (1⁄8in) long. Push the needle back in the opposite side at 4 and out at 5. Repeat this to close the edges.
Slip StiTch This stitch is used most often for hems where you need to stitch 3 2 a turned-under edge to a flat 1 piece of fabric using small, almost invisible stitches. Bring the needle up at 1 on the turned-under hem then back in at 2 and out at 3. Make this horizontal stitch as small as possible so it can’t be seen from the front. Repeat this by making a vertical stitch back into the turned-under edge then continue in this way to complete the hem.
Whip StiTch Whipstitch is used to join the edges of two fabrics together, such as felt and other fabrics that don’t fray. With the right sides 2 1 together, bring your needle out at 1 on the front of the fabric, then over to the back of the other, and through and out at 2. Continue to work small stitches close together over the top of the two fabric edges.
RunNing StiTch This can be used to gather fabric and as a decorative stitch worked around the edge of a finished 4 3 2 1 project. Bring the needle out at 1, in at 2, then out at 3 and in at 4, and so on. Make the length of the stitches the same length as the gaps between them for an even finish. You can work several running stitches on your needle at once.
IncLudes
Back IssUes
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from
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Make an unlin ore dress. sleeveless pinaf
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etti Choose from spagh the straps or off es. shoulder sleev
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Maxi LenGth
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2 Ways to OrdEr Visit the website: www.sewingquarter.com or call 0800 112 4433 *Calls will be charged at your local call rate, calls from mobiles may vary. All prices exclude p&p. All orders subject to availability.
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Your essential guide for festive sewing shopping, from trusted suppliers!
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ON SALE FRIDAY 28 DECEMBER * CONTENTS SUBJECT TO CHANGE. PAPER AND FABRIC GIFTS NOT AVAILABLE WITH DIGITAL EDITIONS.
my favourite thing
sweet success Jen Walker, aka Gingerthread Girl, shares the patternhack dress project that boosted her sewing confidence. "I first dreamt of this hack of the Nina Lee Kew Dress (www.ninalee.co.uk) in September 2017, when I picked up the paper pattern from Nina Lee herself at The Great British Sewing Bee Live. The original pattern has a buttoned-up front, but I decided to remove that and fit an invisible zip to the centre back. And it was fate that the Atelier Brunette Stardust fabrics were released, right at the time I was ready to start. I literally raced to my local haberdashery, Backstitch (www.backstitch.co.uk) for it. The pattern was a dream to work with – clear instructions steering me in the right direction through the whole make. Before committing to cutting this beautiful fabric I scribbled out my plans on a piece of paper. I cut the front bodice piece on the fold,
98 WWW.SIMPLYSEWINGMAG.COM
instead of it being cut into two separate pieces, and then the back bodice vice versa. The skirt pieces were cut out in the same way. This was my first pattern hack, and it was one of those projects which came together exactly how I had dreamt. As I’m sure most people can relate, plans don’t always go this way! But when they do, boy does it give you a sewing confidence boost. I love the fit and finish, and it’s such a complete joy to wear. Projects like this give me the motivation and inspiration for more dressmaking. This dress was a real labour of love, but I absolutely adore the prettiness of this project." Find Jen’s tutorial for this hack at www.you tube.com/thegingerthreadgirl, and see more of her makes at www.gingerthreadgirl.co.uk
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AUTUMN 2012
AVON • Direct Sewing Machines, Bristol – 0117 9778216
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ISLE OF MAN • Joan’s Wools & Crafts, Onchan – 01624 626009
IRELAND • Sew N Knit Belfast, Belfast – 02890 456015 • Sew N Knit Lisburn, Lisburn – 02892 670908 • Singer Sewing Centre, Ballymena – 02825 640034
SCOTLAND • Aberdeen Sewing Machines, Aberdeen – 01224 478555 • Abbey Sewing Machines, Dumfries – 013872 49580 • David Drummond, Edinburgh – 01315 397766 • ESC, Fochabers – 01343 823961 • Pembertons Sewing Machines, Stirling – 01786 462993 • Quilt Creations, Inverness – 01463 719369 • The Sew Studio, Dunfermline – 01383 621894
WALES • Butterfly Fabrics, Cardiff – 02920 470808 • Cliffords Sewing Machines Ltd, Swansea – 01792 655928 • J & B Sewing Machine Co Ltd, Cardiff – 02922 402418 • Newport Sewing & Craft Centre, Newport – 01633 284646 • Sewing Machines Direct, Wrexham – 01978 851235
The ‘Sewing with Style’ offers are available from Janome sewing machine retail outlets nationwide. Promotion starts 1st September until 2nd January 2012. (All offers subject to stock availability).
The world’s leading sewing machine manufacturer
PRI ZES
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