The UK's No.1 sewing mag
LOOK With cover star Elisalex de Castro Peake!
Luxurious lingerie sew-along
Frills, pleats, eyelets and ties
A HAPPIER HOME
is Sew easy! ISSUE 41 UK Â£6.99
Inspire Imagine Create
LS41.COVER UK.indd 1
Why not attend a social sewing event ?
… to issue 41 of Love Sewing
s I write this welcome note I can’t help but think about how lucky I am to be part of the sewing community. You will all be aware of the recent incident that took place in Manchester city centre, which is where the bulk of my colleagues live, just a short drive from our offices. There’s an undeniable change in the mood here at the moment and I’ve been so grateful that readers have reached out from around the world through social media. Personally, I find comfort and joy in talking to like-minded sewists and actively seek out ways to spend time with them. You’ll find a love of sewing present throughout the world; it spans generations and transcends race, gender and class and that’s a pretty incredible thing to think about. I’d love to hear your thoughts at firstname.lastname@example.org Keen to connect with fellow makers? Community sewing events are out there for you to take part in! For instance, on page 6 we’re talking about Instagram hashtag sewing challenges and the New Craft House summer party, plus Sewing Bee Live takes place in September. This month I attended the first Dressmakers Ball; a wonderful event by the team at Crafty Sew & So at Leicester’s City Rooms which raised money for The Eve Appeal charity. In a pink and white satin ballgown I danced and chatted the night away. As part of the event there was an optional catwalk to showcase your outfit and be in the running for an award. It was insanely hard to pick but as a group we decided the effort of Kendall who made a sage green gown with only a few months of sewing experience and Helen – whose Pretty Woman-inspired look required weeks of effort to execute – had to be championed. With a wealth of handmade accessories
er Helen sharees9h! dress on pag LS41 pg03 Welcome.indd 3
Denise ART EDITOR Denise is passionate about design, sewing, good food and fluffy cats. She has a keen eye for detail and knows how to work the latest trends into your craft room. See more at www.instagram.com/ by_denisej
and a special section for the creative gentlemen, the catwalk proved to me the community is full of inventive, hard working and intelligent sewists. That’s enough from me for now but to hear more about The Ball, you can follow me online for a full report – www.almondrock.co.uk – and maybe I’ll see you at an event soon!
Here's to next year
Bethany DEPUTY EDITOR Bethany loves nothing more than indulging in a quiet spot of cross stitch in her free time. She’s also the creator of the Make It Betty 'Sketch it Stitch it' notebooks available at www.makeitbetty. etsy.com
Jenny EDITORIAL ASSISTANT Avid knitter Jenny has recently turned her skills to dressmaking with amazing results. She enjoys making everyday stylish clothes and more challenging cosplay creations. Follow her adventures at www. thegeekyknitter.co.uk
LS41 pg4-5 Contents .indd 4
Find us online
McCall Pattern Co., 120
*Avec Sens **Sans
*Con Pelillo **Sin Pelillo
***Con o Sin Pelillo
MISSES’/MISS PETITE DRESSES: Lined, bodice dresses have fitted ROBES POUR princess seams with JEUNE FEMME/PETIT sleeve, and skirt variations. neckline, corsage ajusté, coutures princesse, E JEUNE FEMME: Robes doublées, A, C: Border prints. à variations d’encolure, jupe. A, C: Imprimé de manche et de à bordure. VESTIDOS PARA JÓVENES Y SEÑORAS ANA: Vestidos con forro, corpiño entallado, DE TALLA PEQUEÑA/MEDIescote, de manga corte princesa, Combinations: y variaciones de A5(6-8-10-12-1 falda. A, C: Telas con cenefa. de 4), E5(14-16-18-20 SUGGESTED FABRICS: -22) Poplin, Sateen, Satin. Séries/Combinaciones: Lining: Lining Fabrics. A, C: also Border A5(6-8-10-12-14), Prints. TISSUS E5(14-16-18-20 CONSEILLÉS: -22) Popeline, Satinette, bordure. Doublure: Satin. A, C: en plus Tissus à doublure. Imprimé à TELAS SUGERIDAS: SIZES 6 Popelina, Satén de 8 10 12 algodón, Satén. A, con cenefa. Forro: 14 A (Border Prints) 16 18 C: en plus Telas Telas de forro. 20 45", 60"*** 22 TAILLES/TALLAS 2π 2π 6 8 10 3 12 3 A (Imprimé à bordure)/(Telas 14 3≤ A (Other Fabrics) 16 3≤ 3∑ 18 20 3∑ 3∞ Yds. 22 con cenefa) - 115, 150cm*** 45"*** 1∫ 1≥ 2.70 2.70 2.80 1≥ 1≥ 2.80 3.00 3.00 A (D’autres tissus)/(Otras 1π 2 60"*** 1∑ 1∑ 3.10 3.10 3.20 m 2∂ 2≤ 2≤ Yds. telas) 1∑ 1∑ 1∞ 115cm*** B 1∞ 60"*** 1∞ 1.50 1≥ 1∫ 1.60 1≥ 1∫ 1.60 1.60 1.80 1≥ 1≥ " 1π 150cm*** 1.30 LINING A, B - 45" 1.90 2.00 2.10 2∂ 2∂ 2∂ 2∂ Yds. 1.30 1.30 1.30 - 1∂ yds. 2.10 m 1.40 1.40 1.40 B 150cm*** 1.60 C (Border Prints) 1.50 1.50 m 1.60 1.60 1.60 45", 60"*** 1.80 2.00 2.00 DOUBLURE/FORRO 3π 3π 2.00 2.00 m A, B - 115cm - 1.10m 4 4∂ C (Imprimé à bordure)/(Telas 4≤ C (Other Fabrics) 4∑ 4∞ 4∫ 4≥ Yds. con cenefa) - 115, 150cm*** 45"*** 2∑ 2∑ 3.60 3.60 3.70 2∑ 2∑ 3.80 3.90 4.00 C (D’autres tissus)/(Otras 2∞ 2∞ 2∫ 60"*** 1≥ 1≥ 4.20 4.30 4.40 m 2∫ 2≥ Yds. telas) 1≥ 1≥ 1π 115cm*** D 60"*** 1≥ 1π 1π 2.20 2.20 2.20 2 1≥ 2 1≥ 1≥ " 2.20 2.30 2.30 1π 150cm*** LINING C, 2∂ 2∂ 2.40 D 1.60 2.40 45" 2∂ 1.60 2.60 m 1 2∂ yd. 1.60 Yds. 1.60 1.80 1.80 D 150cm*** 1.60 NOTIONS: A, B, C, 1.80 1.90 1.90 m 1.60 1.60 1.60 D: One Invisible Zipper: 1.80 2.00 2.00 DOUBLURE/F Hook and Eye. 14" for A, B, 22" for 2.00 2.00 m C, D, One MERCERIE: ORRO C, D - 115cm - 1.00m A, B, C, D: 1 Fermeture à glissière invisible: 55cm pour C, D, 1 35cm pour A, B, Agrafe. MERCERÍA: A, B, C, D: para C, D, 1 Corchete. 1 Cremallera invisible de 35cm para A, B, de 55cm MESURES DU VÊTEMENT Mesure à la poitrine/Conto FINI/MEDIDAS DE LA PRENDA ACABADA rno de busto A, B, C, D 84 87 93 98 Mesure aux hanches/Cont 89 103 108 113 118 cm orno de caderas A 92 94 97 100 105 110 B, C, D 116 121 126 cm 185 188 191 194 199 204 Largeur à l’ourlet/Ancho 210 215 220 cm inferior A 120 122 125 128 133 138 B, C, D 143 149 154 cm 184 187 190 193 198 Longueur - dos, votre nuque à l’ourlet/Largo 203 208 213 218 cm A, B, C, D de espalda desde 88 88 la nuca 89 90 90 91 92 92 Sens ***Avec ou Sans 93 cm Sens
FINISHED GARMENT MEASUREME NTS Measurement at bustline A, B, C, D 33 34 35 36∞ 38∞ 40∞ Measurement at 42∞ 44∞ hipline 46∞ Ins. A 36 37 38 39∞ 41∞ 43∞ B, C, D 45∞ 47∞ 49∞ 73 74 75 " 76∞ 78∞ 80∞ Width, lower edge 82∞ 84∞ 86∞ " A 47 48 49 50∞ 52∞ 54∞ B, C, D 56∞ 58∞ 60∞ 72∞ 73∞ 74∞ " 76 78 Back length from 80 82 84 base of neck 86 " A, B, C, D 34∞ 34≥ 35 35≤ 35≥ 36 36≤ 36∞ "
35∞ *With Nap **Without Nap ***With or Without Nap
Copyright© 2017, The
83 Swatch selector with Kerry Green 84 Skill building with Wendy Gardiner 88 The dressmaker’s diary with Elisalex de Castro Peake 90 This month’s exclusive reader offer 92 Machine reviews 93 Fabric focus: Bags of style 96 COMING NEXT ISSUE Receive a free copy of Sew Caroline Weekend Style when you subscribe – See page 22 for further info
18 Your free McCall’s pattern gift – stylish summer dress pack 31 Your free Threaders pattern – make this vintage ruffle apron 37 Free as a bird Tania blouse 42 Best in show bag 45 Frills and thrills dress 56 Have a gander, goose doorstop 64 Feeling dapper, men’s trousers 79 This pleat can’t be beat skirt 94 Standing proud peacock embroidery hoop 98 Three of a kind, screenprinted bags D
D Broadway, New York 10271, All Rights Reserved. Sold for individual home Printed in U.S.A. Trademarks use only and not for Reg. U.S. Pat. & TM Off. commercial or manufacturing Reserve à un usage Marca Registrada purposes. www.mccallpatte personnel. Utilisation commerciale ou industrielle rn.com strictement interdite.
Size Taille Talla
A5 , E5
A B BODY MEASUREME NTS/MESURES/MEDIDAS SIZES/TAILLES/TALLAS DEL CUERPO 6 8 10 12 Bust 14 16 18 30∞ 31∞ 32∞ 34 Waist 36 38 40 23 24 25 26∞ 28 30 Hip 32 32∞ 33∞ 34∞ 36 Back Waist Length 38 40 42 15∞ 15≥ 16 16≤ 16∞ 16≥ 17
Poitrine/Busto Taille/Cintura Hanches/Caderas Longueur dos/Largo
77 80 58 61 83 85 espalda 39.5 40
83 87 92 64 67 71 88 92 97 40.5 41.5 42
18 20 22 42 44 Ins. 34 37 Ins. 44 46 Ins. 17≤ 17∞ Ins.
Day-to-night and work-to-play dresses
3 Welcome 6 Love Sewing loves 10 Save 20% on dressmaking fabric at Guthrie & Ghani 11 Sewing room swoon 12 Save 50% on Kwik Sew patterns 14 A brief history of shoes 22 SUBSCRIBE TODAY 24 Reader review: McCall’s 7536 25 Fabric focus: Blooming beautiful 27 Shop of the month 28 15 minutes with Khaliah Ali 33 In the good books 34 Behind the seams with Wendy Ward 41 This month I’m making 48 Thrifty Stitcher with Claire-Louise Hardie 50 The Cocktail Hour Sew-along 52 Sewing workshops 55 Colour story: Perfect pastels 59 Jade Earley the girl with the bright red hair 60 DISCOUNTS & GIVEAWAYS 68 PATTERN READING BASICS & FITTING ESSENTIALS 70 Couture Sewing with Alison Smith MBE 73 Readers’ makes 74 Pattern picks: A call to arms! 76 Shop local and claim your free gift
97 102 107 112 cm 76 81 87 94 cm 102 107 112 117 cm 42.5 43 44 44.5 cm
REGULARS AND FEATURES
YELLOW MAGENT A CYAN BLACK
Inside this ISSUE
Editorial Editor Amy Thomas Deputy Editor Bethany Armitage Editorial Assistant Jenny Riley Senior Sub-Editor Justine Moran Sub-Editors Kayleigh Hooton, Chantelle Salkeld Senior Art Editor Denise Johnson Art Editor Simon Kay Junior Art Editor Sarah Edmondson Senior Product Photographer Tym Leckey Photographers Renata Stonyte, Amy Worrall Hair & make-up Nina Rochford Contributors Claire-Louise Hardie, Alison Smith MBE, Elisalex de Castro Peake, Wendy Ward, Jade Earley, Wendy Gardiner, Kerry Green
Publishing & Advertising Head of Softcrafts Ruth Walker Advertising Sales Executive Noune Sarkissian noune.sarkissian@practical publishing.co.uk Advertising Consultant Amanda Paul Subscriptions Manager Daniel Tutton Senior Editor Kate Heppell Managing Art Editor Jennifer Lamb Head of Content & Positioning Gavin Burrell Group Buying Manager Olivia Foster Buying Assistant Rachael Edmunds Production Assistant Anna Olejarz Ecommerce & Distribution Director Dave Cusick Managing Director Danny Bowler Group Managing Director Robin Wilkinson
Distribution Newstrade COMAG Magazine Distribution email@example.com Tel 0844 826 0613
Contact Practical Publishing International Ltd, Suite G2 St Christopher House, 217 Wellington Road South, Stockport SK2 6NG firstname.lastname@example.org www.practicalpublishing.co.uk Tel: 0844 561 1202 Fax: 0161 474 6961
Tel: 01858 438899 email@example.com Love Sewing is published by Practical Publishing International Ltd ISSN 2054-832X All material ÂŠ Practical Publishing International Ltd. The style and mark of Love Sewing is used under licence from Craft Media Ltd. No material in whole or in part may be reproduced, stored or transmitted in any form whatsoever without the prior written consent of Practical Publishing International Ltd. The publisher welcomes contributions from readers. All such contributions and submissions to the magazine are sent to and accepted by the publisher on the basis of a non-exclusive transferable worldwide licence unless otherwise agreed in writing prior to first publication. Such submissions are also subject to being used, reproduced, modified, published, edited, translated, distributed and displayed in any media or medium, or any form, format or forum now known or hereafter developed, for any purpose, in perpetuity.
Learn our sneaky scuba pattern hack!
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28 Practical Publishing International Ltd is a member of the PPA
CONTRIBUTORS Aneka Truman
Aneka is the owner of Made to Sew where she runs sewing classes teaching dressmaking and tailoring techniques. Find her goose doorstop on page 56
Chloe makes embroidery hoop art, including pet portraits, and creates gorgeous downloadable PDF embroidery patterns. Why not try her pretty peacock design on page 94?
Wendy is the Brand Ambassador for The McCall Pattern Company and each month she shares her wealth of dressmaking expertise with readers. On page 84 weâ€™re talking about essential summer skirts
Indie pattern designer Claire shares the Tania top on page 37. See the full Simple Sew range, take a peek at what the blogger team has been making and find helpful tutorials and tips at www.simplesewpatterns.com
LS41 pg4-5 Contents .indd 5
The patterns, people, fabric and finds getting us sewing this month
RESISTANCE IS FUTILE
0 9 4 6 k o o L New NEWLOOK
6490 BIN / PANIER / ESTANTE
REORDER CODE CODIGO DE ORDEN CÔDIGO DE ORDÉN
TO BE USED FOR INDIVIDUAL PRIVATE HOME USE ONLY AND NOT FOR COMMERCIAL OR MANUFACTURING PURPOSES. / TA USAGE PRIVÉ SEULEMENT ET NON À DES FINS COMMERCIALES OU DE PRODUCTION EN SÉRIE. / PARA USO PRIVADO PRICE CODE PRIX SOLAMENTE, NO SE PUEDE UTILIZAR CON PROPÓSITOS DE COMERCIALIZACIÓN O DE PRODUCCIÓN EN SERIE.
© 2017 SIMPLICITY PATTERN CO. MFD FOR / FAB POUR / FAB PARA SIMPLICITY PATTERN CO. INC.
1411 BROADWAY, NEW YORK, NY 10018, USA. SIMPLICITY PATTERNS PTY. LTD. 25 VIOLET STREET, REVESBY, NSW 2212, AUSTRALIA. SIMPLICITY LTD., P.O. BOX 367, CORONATION STREET, STOCKPORT, SK5 7WZ, UK. PRINTED IN / IMPRIMÉ / IMPRESO EN USA.
ALL RIGHTS RESERVED. / TODOS DERECHOS RESERVADOS. / TOUS DROITS RÉSERVÉS. • NEW LOOK IS A REGISTERED TRADEMARK. / EST UNE MARQUE DÉPOSÉE. / ES UNA MARCA REGISTRADA.
BIN / PANIER / ESTANTE
SIZE / TAILLE / TALLA U.S. 8-20 / FR. 36-48 / EURO. 34-46
@tweetsimplicity pinterest.com/simplicitypins @simplicity_creative_group youtube.com/simplicityvideo facebook.com/simplicitypatterns
You must be overjoyed at the response! Sarah The online sewing community rocks! It’s the most encouraging and supportive of places. Also the core ethos of the challenge really resonated with me; it pushed me to up my game in terms of fitting my own dress.
6490 A SIZE / TAILLE / TALLA U.S. 8-20 FR. 36-48 EUR0. 34-46
*sin pelusa **con pelusa ***sin o con pelusa
Monika Seeing new posts on the Instagram hashtag page always make my day!
Designed and printed in the USA/ Diseñado e impreso en los Estados Unidos/ Créé et imprimé aux Etats Unis
Suzy We´ll definitely be running another #sewtogetherforsummer challenge next year. However, the garment to sew is a secret, for now! Be inspired by the wonderful finished makes on Instgram by searching for the hashtag #sewtogetherforsummer and make your own stylish shirtdress this year.
JEUNE FEMME: PATRON SEPT TAILLES SEÑORITAS: PATRON SIETE TALLAS Tailles / Tallas 8 10 12 14 16 18 20 Tailles Françaises 36 38 40 42 44 46 48 Tallas Europeas 34 36 38 40 42 44 46 Poitrine / Busto 80 83 87 92 97 102 107 cm Taille / Cintura 61 64 67 71 76 81 89 " Hanches /Caderas 85 88 92 97 102 107 112 " Dos (encolure à Taille) / Espalda (escote a cintura) 40 40.5 41.5 42 42.5 43 44 cm A,B,C,D Doublure ⁄ A,B,C,D Forro 115cm** 1.40 1.40 1.40 1.40 1.40 1.50 1.50 m Entoilage-0.90 de 51cm à 64cm de large thermocollant léger tels que Pellon® Entretela-0.90 de 51cm a 64cm de ancho ligera adhesiva como Pellon® A 115cm** 2.90 3.00 3.00 3.00 3.00 3.10 3.10 m 150cm** 1.80 1.80 1.90 1.90 2.00 2.10 2.30 " B 115cm** 1.80 1.80 1.80 1.90 1.90 1.90 1.90 m 150cm** 1.00 1.00 1.00 1.00 1.00 1.10 1.10 " Manches et Volant Inférieur Contrastants ⁄ Mangas y Volante Inferior Contrastantes 115cm** 1.00 1.00 1.10 1.10 1.20 1.20 1.20 m 150cm** 0.70 0.70 0.70 0.80 0.80 0.80 0.80 " C 115cm** 1.80 1.80 1.80 1.90 1.90 1.90 1.90 m 150cm** 1.20 1.20 1.20 1.20 1.20 1.20 1.20 " D 115cm** 1.80 1.80 1.80 1.90 1.90 1.90 1.90 m 150cm** 1.20 1.20 1.30 1.30 1.30 1.40 1.40 " TISSUS SUGGERES Batiks, Étamine, Coton de Linon, Crêpe de Satin, Crêpe Georgette Double, Dentelle, Mélanges de Lin Légers, Tissus Soyeux. Prévoyez davantage de tissu pour raccorder les écossais ou rayures. MERCERIE Fil. A: 0.70m d'élastique de 6mm de large. TELAS SUGERIDAS Batiks, Chalí, Algodón de Linón, Crepé de Satén, Crepé Georgette Doble, Encaje, Mezclas de Lino Ligeros, Telas Sedosas. Se necesita tela adicional para casar cuadros o rayas. MERCERIA Hilo. A: 0.70m de elástico de 6mm de ancho.
Sarah Without a doubt, I didn’t want this to be a competition or stressful for participants in any way… the timeline had to be generous and it needed to be flexible.
*sans sens **avec sens ***avec ou sans sens
Suzy Early on we decided that we wanted it to be the sort of challenge that relatively new sewists as well as more experienced dressmakers would like to join.
*without nap **with nap ***with or without nap
How did the idea for the #sewtogetherforsummer shirtdress challenge come about? Monika We thought a big shirtdress sew-along would encourage and inspire us as well as others!
10 PIECES/PIEZAS MISSES' SEVEN SIZES IN ONE Métrages et instructions Sizes 8 10 12 14 16 18 20 de couture en Français à 34 36 38 40 42 44 46 l’intérieur de l’enveloppe. European Size Bust 31˘ 32˘ 34 36 38 40 42 In Waist 24 25 26˘ 28 30 32 34 " Hip 33˘ 34˘ 36 38 40 42 44 " Back-neck to waist 15˚ 16 16˙ 16˘ 16˚ 17 17˙ " A,B,C,D Lining 45"* 1˘ 1˘ 1˘ 1˜ 1˜ 1˜ 1˜ Yd Interfacing- 1 yd. of 20" to 25" wide lightweight fusible, such as Pellon® A A 45"** 3˙ 3˙ 3˙ 3˙ 3ˆ 3ˆ 3ˆ Yd 60"** 2 2 2 2ı 2ı 2ˆ 2˘ " B 45"** 2 2 2 2 2ı 2ı 2ı Yd 60"** 1ı 1ı 1ı 1ı 1ı 1ı 1˙ " Contrast Sleeves and Lower Flounce 45"** 1ı 1ı 1˙ 1˙ 1˙ 1ˆ 1ˆ Yd B 60"** ˚ ˚ ¯ ¯ ¯ ¯ ¯ " C 45"** 2 2 2 2 2ı 2ı 2ı Yd 60"** 1˙ 1˙ 1˙ 1ˆ 1ˆ 1ˆ 1ˆ " D 45"** 2 2 2 2 2ı 2ı 2ı Yd 60"** 1ˆ 1ˆ 1ˆ 1ˆ 1˘ 1˘ 1˘ " C D GARMENT MEASUREMENTS A,B,C,D Bust 36 37 38˘ 40˘ 42˘ 44˘ 46˘ In Finished back length from base of neck: A,B,C,D 24˚ 25 25˙ 25˘ 25˚ 26 26˙ In SUGGESTED FABRICS Batiks, Challis, Cotton Lawn, Crepe Back Satin, Double Georgette, Lace, Lightweight Linen Types, Silky Types. Allow extra fabric for match plaids or stripes. REQUIREMENTS Thread. A: ˚ yd. of ˙" wide elastic.
Back in the cold of January, three Instagram sewing friends, Suzy @Sewing_in_Spain, Monika @rocco.sienna and Sarah @SewSarahSmith came up with the idea of a new community sewing event #sewtogetherforsummer to sew a shirtdress for summer! Here they tell us all about it…
Price: £6.95 Sizes: 8-20 Available from www.simplicity newlook.com The ruffle and the cold shoulder trends are refusing to die down so why not embrace both in one design with this chic top pattern from New Look? There are great sleeved variations if you prefer to keep things covered.
FANTASTIC 9/22/16 2:52 PM
Visit www.empressmills.co.uk Get ready for the sunshine with the new range of jerseys added to the Empress Mills website. With tropical toucans, zesty stripes and fresh florals you’ll be sewing up a storm in no time.
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STITCH The cross stitch and embroidery we’re loving this month
Bethany Deputy Editor
GET THE LOOK
MEASURE UP Price: £10 From www.shopbeyondmeasure.co.uk These gorgeous illustrated tape measures feature quirky fashion illustrations from the 1700s to the naughties on the reverse. They are reliable and strong to use, measure a generous 150cm and look fabulous!
WIN ON PAGE 60!
Embroidery has been one of the runaway fashion trends of the last few months and it shows no signs of leaving the catwalk or the high street. I can’t resist a big machine-embroidered motif and even if you don’t have an embroidery machine at home you can get in on this look. This £25 striped tee from www.evans.co.uk is ideal for summer and you can recreate the floral embellishment with a £6.79 iron-on patch from www.beecomecrafty.etsy.com. Perfect for injecting a little colour into summer sewing.
GO BIG AND
Price: £139.99 Available from www.sewandso.co.uk Want to get more involved in needlework but aren’t keen on anything small and fiddly? Why not supersize your stitching with a giant tapestry floor cushion? DMC has just brought out a selection of 90cm-square Big Chill cushion kits, which are suitable for beginners and contain everything you need to get started.
It’s not just adults who are getting in on the stitchy embellishments, kids' clothes are following suit. Showcasing the look is this baby top from www.mandco. co.uk. With delicate butterfly and floral embroidery and a combination of satin and twisted running stitches, this could be the perfect inspiration for your own hand or machine stitching. I love the addition of tiny tassels and pompom trim too, giving it a real holiday feel. Don’t let the little ones have all the fun though, why not embellish a cami top or maxi dress for warmer weather?
Sublime Stitching embroidery floss, £4.76 from www.crafty woolfelt.etsy.com
TAKE A BOW
If embroidering onto your clothes seems a bit scary you could try focusing on something a little smaller like a necklace. This bold bow tie jewellery kit from www.halfcraftstudio.etsy. com (£11.99) comes with everything you need to get creative and make yourself a statement accessory. You can use the detailed instructions included or go off piste and come up with your own unique cross stitch or embroidery design.
LS41 Love Sewing Loves.indd 7
w e S k i w K 4212
CALLING ALL MAVENS
SMART AS A FOX
The Rochester dress & top
Price: £8.99 Available at www.sewdirect.com How adorable is this fox-face bag and matching scissor holder? Perfect for holding your WIP projects and tools if you’re off to a sewing class.
Sizes: 8-18 Price: PDF £9.96 Available from www. with code mavenpatterns.etsy.com LOVEMAVEN Be still our hearts! How lovely is this simple but stylish dress and top pattern? There’s a gathered neckline, centre back pleat and eye-catching curved split hem. What’s more, we have an exclusive discount code for 10% off all Maven Patterns until July 13th. What are you waiting for?
Party time Price: £17.50 Find more at www.shop.thenewcrafthouse.com Celebrate the sewing community by attending the New Craft House summer party this August. There will be a mini market with some of your favourite independent sewing companies, party games, delicious drinks and plenty of good tunes.
Lindy petal skirt Price: FREE Available at www.itch-to-stitch.com This awesome free skirt pattern from the Itch To Stitch team is made in knit fabric and features a chic curved wrap front. Finished with an elasticated waist, it’s super comfy and quick to sew!
LS41 Love Sewing Loves.indd 8
WOMAN We chatted to Helen of vlog Stitch My Style about the latest instalment in her self-imposed sewing challenge; recreating much-loved iconic garments!
retty Woman is undoubtedly the Cinderella film of the 90s. Julia Roberts is transformed from an escort into a society belle and is duly whisked off to the opening night of the opera. Accompanying her is a floor-length red silk ballgown and it became an instant icon. It's also the perfect choice for my next recreation project! It’s bold, challenging and full of interesting detail. Perhaps too challenging… There were three layers to the bodice: calico underlayer, crepe mid layer and chiffon overlay. Surprise, surprise, they all
behaved completely differently. To create the flat ruched effect meant stretching the whole of the top layer across the bodice, an almost impossible task at times. Progress was very slow, and giving up entirely did cross my mind, but the small successes and glimpses of the final splendour kept me going. A true recreation wouldn’t be complete without a 'ruby' beaded necklace and elbow-length white silk gloves. Sadly, I cannot admit to having made the gloves. The wonderfully generous Cornelia James - glove maker appointed to the Queen, no less - offered to let me see its artisan glovemakers demonstrate their skill and let me wear the finished gloves as part of the outfit. My very own Cinderella moment. Despite all the setbacks, I’m still in love with these recreation projects. My mother was never a lady to do things by half, and I’m very much following in her footsteps. Plus, the next project has already started forming in the back of my mind. Yellow tartan anyone?
Helen won best dress at The Dressmakers Ball. Find out more on page 3!
FIND OUT MORE!
Photography © Hannah Puddefoot
LS41 Love Sewing Loves.indd 9
Visit youtube.com/c/ stitchmystyle to see the full journey and suggest Helen’s next recreation. Plus don’t forget to say hello on social media instagram.com/ stitch_my_style and twitter.com/stitchmystyle
EXCLUSIVE READER OFFER!
20% OFF fabric at
LOVESEW41 from www.guthrieghani.co.uk
Lauren Guthrie founder of Guthrie & Ghani and 2013 Sewing Bee finalist shares her favourite fabric picks this month
1 Robert Kaufman Burgundy Chambray Dots, £17.90 per metre B Atelier Brunette Bye Bye Birdie Navy, £17.50 per metre C Charcoal Arrows grey marl jersey, £14 per metre 4 Rose Grey Designer Denim, £12 per metre 5 Twilight Florals cotton lawn, £12 per metre 6 Atelier Brunette Off White viscose crepe, £17.50 per metre 7 Atelier Brunette Facet Nude, £17.50 per metre 8 Smokey Mauve marl jersey, £12.50 per metre * All prices and stock availability correct at time of publication. Discount code applies to all full priced fabric and cannot be used in conjunction with any other offers. Offer expires 20th July 2017
LS41 Pg10 Fabric Focus.indd 10
Katy Cameron shares a few superb storage solutions from her diminutive sewing space
y sewing room is actually half of what one might generously call my living room… The entire space is only about 10x6' and contains a cutting table, sewing table (it used to be the dining table until I stopped pretending) and a shelving unit for my main fabric cuts. I have to be extremely organised, so at times I end up spending more time than is probably healthy trawling through Ikea and B&Q to find storage solutions, as well as repurposing things such as old DVD towers for my fat quarter storage. A series of hooks on the back of my door keep zips tidy and each hook is set to the perfect height for the various lengths. I got out my Dymo machine and happily labelled the lengths onto all the hooks so I could see at a glance what I had without having to grab a measuring tape each time. Giant embroidery hoops make excellent hanging space for ribbon and trim, and the hanging rod was from Ikea (I think it was meant for the kitchen). For my thread spools I went with a couple of Artbin Super Satchel Boxes with removable thread trays, which are super efficient if you’re lacking in space. My most commonly used thread spools are actually stored on a couple of tie racks from Dunelm! Simple, but effective.
Katy Cameron Katy Cameron is the creative force behind www.the-littlest-thistle. com where she shares tutorials, bag patterns and reviews. You may also know her as a reguar contributor to Quilt Now. Visit www.thelittlest-thistle.com/thethistle-patch-retreat-2017 to learn about her Highland sewing retreat you can attend later this year
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A BRIEF HISTORY OF
A brief history of
Shoes have captured our attention for centuries. Here we explore the wonderful ways shoes can be functional and fashionable
14 History of.indd 14
are merely a tool to protect our feet as we go about our day, but they can also be beautiful, high performance, impractical, personal and culturally significant
The square-toed, flat-heeled slipper dominated women's shoe fashion since the 1820s. Whereas the elegant satin slippers of those years had been worn both in and outdoors, the square-toed mule was used exclusively at home. The development of practical outdoor leather boots for women by the 1850s meant that slippers became an essential part of a lady's indoor wardrobe. Some women embroidered the readymade uppers of their slippers themselves. This pink satin example (right) has chenille and gilt embroidery, a silk lining and interestingly the leather sole has the number '38' stamped near the toe; this denotes its size under the French system. Although standardised sizes in shoemaking had been in existence since the 17th century it was only during the 19th century that makers began to include this information on the shoe itself.
When we think of footwear exhibitions, books and Viennese and Belgian bootmakers documentaries they are produced some of the most primarily focused on striking footwear of the early 20th women’s shoes, simply century. Their stylish boots made because more pairs have good display pieces for retailers. survived the test of time; Many were richly decorated and partially through the work made in bright colours. These of collectors and generally boots advertised that top-quality the care afforded to them. fashionable footwear could be The love affair with footwear bought from the shops that started long ago, with displayed them. medieval shoes being the centre of a discussion on The V&A collection includes a style and status far over pair made in Vienna sometime functionality. In the book between 1895 and 1915 for display Louboutin Shoes by Lucy Johnston in a London shop. Designed and Linda Woolley the and made by Anton Capek and analysis of the outstanding sold by W. Coulson, they show collection of the Victoria and European shoemaking at its Albert museum explores the finest. The slender ankle, curved development of fashionable footwear from Louis heel and high buttoned leg were very the Middle Ages to the present day including fashionable in 1900. The noteworthy examples of design, links to a moment in history or significant technical advancements.
I'm probably a little bit naughty myself so I just gave that to my shoes
During the early 1800s women’s shoe styles reflected the notions of idealised beauty with ornate, delicate and neat shoes reinforcing the ideals of fine breeding and a gentle birth. Narrow silhouettes and blunt ends minimised the size of the foot but often caused crippling pain and joint issues. It wasn’t until around 1840 that the introduction of left and right shoes began. Women were slower to adopt them than men and the replacement of 'straights' was very gradual.
(c) Victoria and Albert Museum, London
Shoes are many things to many people. For most they
soft brown leather with its shiny glacé finish highlights the skilful stitching and high quality of construction. Inside they are lined in cotton sateen and silk satin. When their style went out of fashion and they were no longer useful to shops, display shoes and boots were stored or sold. The pair in the V&A collection was purchased in 1923 for eight shillings and sixpence. The 'Oxford' lace-up shoe was the predominant style in men's footwear during the 1920s. It was known in the trade as a 'closed tab shoe' because the eyelet tabs (the sections of leather with holes for the laces) were stitched under the front section of the shoe, or vamp, rather than on top of it. Usually Oxfords were made up in plain black or brown leather for everyday wear. British footwear fashions were conservative during the 1920s with strict rules dictating what shoe could be worn with which outfit. Brown shoes with a dinner suit were frowned upon and any kind of flamboyance was considered distasteful. This racy red and silver shoe (below) was made for display at the London International Shoe Fair in 1925 and may have been aimed at the American market which was open to more exotic designs.
© Victoria and Albert Museum, London www.lovesewingmag.co.uk 15
14 History of.indd 15
We couldn’t avoid mentioning the shoes that have permeated the cultural zeitgeist to be coveted across the world. Christian Louboutin was quoted in his 2015 documentary Louboutin: The World's Most Luxurious Shoes as saying “I'm probably a little bit naughty myself so I just gave that to my shoes.” And Manolo Blahnik and Jimmy Choo were idolised within the TV series Sex and the City by shoeobsessed Manhattanite Carrie Bradshaw.
Shoes are commodities and collectibles. The luxurious and impractical shoes that clearly signal privilege and status have long been objects of desire. Today, a pair of shoes by Jimmy Choo or Prada is a more coveted possession than any other item of clothing. Spending large amounts of money on a pair of shoes is pleasurable because it is excessive. From the designer shoe lover to the trainer enthusiast, footwear obsessives do not acquire shoes for their value as assets or investments. Shoes are collected for the pleasure of possessing, because of the beauty
© FashionStock.com / Shutterstock.com
In 2015 the Victoria and Albert Museum displayed more than 200 pairs of historic and contemporary men’s and women’s shoes in its exhibition Shoes: Pleasure and Pain. It featured 70 designers, including Christian Louboutin, Manolo Blahnik, Jimmy Choo, Christian Dior and Prada, many from the V&A’s unrivalled collection. The shoes were exhibited thematically, not chronologically, each section a visual cornucopia of different shapes, styles, materials and colours. They were presented as very beautiful objects, many telling fascinating stories. They revealed an intriguing truth: The design of shoes has created many identifiable symbols of supremacy and privilege, from the red heels of Louis XIV’s court to the elaborately embroidered moccasins worn by the Iroquois elite. These shoes, just like a pair of Louboutins today, show that the wearer belongs to an exclusive circle.
Rock the Runway
© Cenz07 / Shutterstock.com
Dolce and Gabbana is an Italian powerhouse with a clear message in its designs. The beautiful designs from the new summer 2017 collection are a musical fanfare of colourful motifs, fringing, fruits, laces and pompoms. They mix periods and cultures, tradition and modernity to create a unique aesthetic that is undeniably thought provoking.
Narrow silhouettes minimised the size of the foot but often caused crippling pain
Dolce & Gabbana (left) and Herve Leger (above) make footwear that demands attention!
of shoes and sometimes for the memories and associations that go with them. Shoes now command their own runway collections, receive celebrity endorsements and are immortalised in film and television. With modern designers striving to push the boundaries between art and fashion, they elevate shoes to new heights.
Read more about the history of shoes in the fascinating book Shoes by Lucy Johnston and Linda Woolley, part of the Accessories series from V&A Publishing, £12.95, Thames & Hudson and see the wonderful collection of shoes within the Fashion and Textiles collection at The Victoria and Albert museum in Knightsbridge, London www.vam.ac.uk/Museum
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This versatile dress from McCall's can be worn to so many occaisons and works in all kinds of fabric! Donâ€™t forget McCallâ€™s patterns come with foolproof stepby-step guides to make sewing a breeze
IMPRESS! 18 mccalls dress.indd 18
18 mccalls dress.indd 19
Secretly secure you bodice lining on the inside by using a blind hem foot to stitch in the ditch of the waist seam.
STITCH IN THE DITCH They Took Some Money pink Broderie Anglaise, £14.95 per metre www.croftmill.co.uk
MISSES’/MISS PETITE DRESSES: Lined, fitted ROBES POUR JEUNE FEMME/PETITE JEUNE FEMME: Robes doublées, à bodice dresses have princess seams with neckline, corsage ajusté, coutures princesse, variations d’encolure, de manche et de sleeve, and skirt variations. A, C: Border prints. jupe. A, C: Imprimé à bordure. VESTIDOS PARA JÓVENES Y SEÑORAS DE TALLA PEQUEÑA/MEDIANA: Vestidos con forro, corpiño entallado, corte princesa, variaciones de escote, de manga y de falda. A, C: Telas con cenefa.
The pattern includes guidance for working with border prints. Let's practise some patternmatching skills! Combinations: A5(6-8-10-12-14), E5(14-16-18-20-22) Séries/Combinaciones: A5(6-8-10-12-14), E5(14-16-18-20-22) SUGGESTED FABRICS: Poplin, Sateen, Satin. A, C: also Border Prints. TISSUS CONSEILLÉS: Popeline, Satinette, Satin. A, C: en plus Imprimé à Lining: Lining Fabrics. bordure. Doublure: Tissus à doublure. TELAS SUGERIDAS: Popelina, Satén de algodón, Satén. A, C: en plus Telas con cenefa. Forro: Telas de forro. 14 16 18 20 22 TAILLES/TALLAS 6 8 10 12 14 16 18 20 22 A (Imprimé à bordure)/(Telas con cenefa) - 115, 150cm*** 3≤ 3≤ 3∑ 3∑ 3∞ Yds. 2.70 2.70 2.80 2.80 3.00 3.00 3.10 3.10 3.20 m A (D’autres tissus)/(Otras telas) 1π 2 2∂ 2≤ 2≤ Yds. 115cm*** 1.50 1.60 1.60 1.60 1.80 1.90 2.00 2.10 2.10 m 1∞ 1∞ 1∞ 1∫ 1∫ " 150cm*** 1.30 1.30 1.30 1.30 1.40 1.40 1.40 1.50 1.50 m 1π 2∂ 2∂ 2∂ 2∂ Yds. B 150cm*** 1.60 1.60 1.60 1.60 1.80 2.00 2.00 2.00 2.00 m DOUBLURE/FORRO A, B - 115cm - 1.10m C (Imprimé à bordure)/(Telas con cenefa) - 115, 150cm*** 4≤ 4∑ 4∞ 4∫ 4≥ Yds. 3.60 3.60 3.70 3.80 3.90 4.00 4.20 4.30 4.40 m C (D’autres tissus)/(Otras telas) 2∞ 2∞ 2∫ 2∫ 2≥ Yds. 115cm*** 2.20 2.20 2.20 2.20 2.30 2.30 2.40 2.40 2.60 m 1π 1π 1π 2 2 " 150cm*** 1.60 1.60 1.60 1.60 1.80 1.80 1.80 1.90 1.90 m 1π 2∂ 2∂ 2∂ 2∂ Yds. D 150cm*** 1.60 1.60 1.60 1.60 1.80 2.00 2.00 2.00 2.00 m DOUBLURE/FORRO C, D - 115cm - 1.00m Zipper: 14" for A, B, 22" for C, D, One MERCERIE: A, B, C, D: 1 Fermeture à glissière invisible: 35cm pour A, B, 55cm pour C, D, 1 Agrafe. MERCERÍA: A, B, C, D: 1 Cremallera invisible de 35cm para A, B, de 55cm para C, D, 1 Corchete. MESURES DU VÊTEMENT FINI/MEDIDAS DE LA PRENDA ACABADA Mesure à la poitrine/Contorno de busto A, B, C, D 84 87 89 93 98 103 108 113 118 cm Mesure aux hanches/Contorno de caderas A 92 94 97 100 105 110 116 121 126 cm B, C, D 185 188 191 194 199 204 210 215 220 cm Largeur à l’ourlet/Ancho inferior A 120 122 125 128 133 138 143 149 154 cm B, C, D 184 187 190 193 198 203 208 213 218 cm Longueur - dos, votre nuque à l’ourlet/Largo de espalda desde la nuca A, B, C, D 88 88 89 90 90 91 92 92 93 cm SIZES 6 8 10 12 A (Border Prints) - 45", 60"*** 2π 2π 3 3 A (Other Fabrics) 45"*** 1∫ 1≥ 1≥ 1≥ 60"*** 1∑ 1∑ 1∑ 1∑ B 60"*** 1≥ 1≥ 1≥ 1≥ LINING A, B - 45" - 1∂ yds. C (Border Prints) - 45", 60"*** 3π 3π 4 4∂ C (Other Fabrics) 45"*** 2∑ 2∑ 2∑ 2∑ 60"*** 1≥ 1≥ 1≥ 1≥ D 60"*** 1≥ 1≥ 1≥ 1≥ LINING C, D - 45" - 1 yd. NOTIONS: A, B, C, D: One Invisible Hook and Eye.
58∞ 60∞ 84 86
54∞ 56∞ 80 82
47∞ 49∞ 84∞ 86∞
43∞ 45∞ 80∞ 82∞
44∞ 46∞ Ins.
*Avec Sens **Sans Sens ***Avec ou Sans Sens *Con Pelillo **Sin Pelillo ***Con o Sin Pelillo
FINISHED GARMENT MEASUREMENTS Measurement at bustline A, B, C, D 33 34 35 36∞ 38∞ Measurement at hipline A 36 37 38 39∞ 41∞ B, C, D 73 74 75 76∞ 78∞ Width, lower edge A 47 48 49 50∞ 52∞ B, C, D 72∞ 73∞ 74∞ 76 78 Back length from base of neck A, B, C, D 34∞ 34≥ 35 35≤ 35∞
*With Nap **Without Nap ***With or Without Nap
VIEW A C
Copyright© 2017, The McCall Pattern Co., 120 Broadway, New York 10271, All Rights Reserved. Printed in U.S.A. Trademarks Reg. U.S. Pat. & TM Off. Marca Registrada Sold for individual home use only and not for commercial or manufacturing purposes. www.mccallpattern.com Reserve à un usage personnel. Utilisation commerciale ou industrielle strictement interdite.
A5 , E5
Size Taille Talla
D A B BODY MEASUREMENTS/MESURES/MEDIDAS DEL CUERPO SIZES/TAILLES/TALLAS 6 8 10 12 14 16 18 Bust 30∞ 31∞ 32∞ 34 36 38 40 Waist 23 24 25 26∞ 28 30 32 Hip 32∞ 33∞ 34∞ 36 38 40 42 Back Waist Length 15∞ 15≥ 16 16≤ 16∞ 16≥ 17
Poitrine/Busto 77 80 Taille/Cintura 58 61 Hanches/Caderas 83 85 Longueur dos/Largo espalda 39.5 40
83 87 92 64 67 71 88 92 97 40.5 41.5 42
20 22 42 44 Ins. 34 37 Ins. 44 46 Ins. 17≤ 17∞ Ins.
97 102 107 112 cm 76 81 87 94 cm 102 107 112 117 cm 42.5 43 44 44.5 cm
YELLOW MAGENTA CYAN BLACK
See page 22 for details
See her column on page 68! Doesn't Elisalex look pretty in pink! We loved having her as our cover star this month.
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your Lightly press open ling zipper before instal stitch to help the needle closer to the teeth
CONCEALED ZIPER VIEW B
For a flawless invisible zipper finish you'll want to use a concealed zipper foot which pushes the teeth out of the way as you sew, allowing you to get nice and close with your stitching
Add an easy-to-wear day dress to your wardrobe with the gathered skirt sleeveless version.
Yuma Lemons Glare cotton, Sage, Art Gallery Fabrics, ÂŁ14 per metre www.cottonreelstudio.co.uk
18 mccalls dress.indd 20
Tempted to try working in scuba? A walking foot (aka even feed foot) will stop bulky fabric from bunching as it passes through your machine. It's a great all round foot!
Consider going down a size or two when working with jersey for a better fit
VIEW C We wanted to try something a little different by using scuba for the pleated skirt view. We simply omitted the zip and used bias binding in place of a lining!
Feeling Blue floral scuba, ÂŁ7 per metre www.fabworks.co.uk
18 mccalls dress.indd 21
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BODY MEASUREMENTS/MESU RES/MEDID AS DEL CUERPO SIZES/TAILLES/TALLAS 6 8 10 12 Bust 14 16 18 30∞ 31∞ 32∞ 34 Waist 36 38 40 23 24 25 26∞ 28 30 Hip 32 32∞ 33∞ 34∞ 36 Back Waist Length 38 40 42 15∞ 15≥ 16 16≤ 16∞ 16≥ 17
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***Con o Sin Pelillo
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MISSES’/MISS PETITE DRESSES: Lined, fitted ROBES POUR bodice dresses have JEUNE FEMME/PETITE princess seams with neckline, corsage ajusté, JEUNE sleeve, and skirt variations. coutures princesse, variations FEMME: Robes doublées, à A, C: Border prints. d’encolure, de manche jupe. A, C: Imprimé à et de bordure. VESTIDOS PARA JÓVENES Y SEÑORAS DE TALLA ANA: Vestidos PEQUEÑA/MEDIcon forro, corpiño entallado, corte princesa, escote, de manga y de variaciones de Combinations: A5(6-8-10-12 falda. A, C: Telas con cenefa. -14), E5(14-16-18-20-22) SUGGESTED FABRICS: Poplin, Sateen, Satin. Lining: Lining Fabrics. A, C: also Border Prints. Séries/Combinaciones: A5(6-8-10-12-14), E5(14-16-18 TISSUS CONSEILLÉ -20-22) S: Popeline, Satinette, Satin. A, C: en plus bordure. Doublure: Tissus Imprimé à à doublure. TELAS SUGERIDAS: SIZES Popelina, Satén de algodón, 6 8 10 con cenefa. Forro: Telas Satén. A, C: en plus Telas 12 14 16 A (Border Prints) - 45", 18 de forro. 20 22 60"*** TAILLES/TA LLAS 6 8 10 2π 2π 12 14 3 16 A (Imprimé à bordure)/(Te 3 18 3≤ 20 3≤ 3∑ 22 A (Other Fabrics) las con cenefa) - 115, 3∑ 3∞ Yds. 150cm*** 2.70 2.70 2.80 2.80 45"*** 1∫ 1≥ 3.00 3.00 3.10 3.10 1≥ 1≥ A (D’autres tissus)/(Otra 1π 2 3.20 m 2∂ s telas) 60"*** 1∑ 1∑ 2≤ 2≤ Yds. 1∑ 1∑ 115cm*** 1∞ 1∞ 1∞ 1.50 1.60 1.60 1.60 B 60"*** 1≥ 1≥ 1∫ 1∫ 1.80 1.90 2.00 2.10 " 1≥ 1≥ 150cm*** 1.30 1.30 1π 2∂ 2∂ 2.10 m LINING A, B - 45" - 1∂ 2∂ 2∂ Yds. 1.30 1.30 1.40 1.40 yds. B 150cm*** 1.60 1.40 1.50 1.50 m C (Border Prints) - 45", 1.60 1.60 1.60 1.80 60"*** 2.00 2.00 2.00 2.00 DOUBLURE/FORRO A, B m 3π 3π 4 C (Imprimé à bordure)/(Te 115cm - 1.10m 4∂ 4≤ 4∑ 4∞ C (Other Fabrics) las con cenefa) - 115, 4∫ 4≥ Yds. 150cm*** 3.60 3.60 3.70 45"*** 2∑ 3.80 2∑ 3.90 2∑ 4.00 C 2∑ (D’autres 4.20 4.30 4.40 m 2∞ tissus)/(Otras telas) 2∞ 2∫ 60"*** 1≥ 1≥ 2∫ 2≥ Yds. 1≥ 1≥ 115cm*** 1π 1π 1π 2.20 2.20 2.20 2.20 D 60"*** 1≥ 1≥ 2 2 2.30 2.30 2.40 2.40 " 1≥ 1≥ 150cm*** 1.60 1.60 1π 2∂ 2∂ 2.60 m LINING C, D - 45" - 1 2∂ 2∂ Yds. 1.60 1.60 1.80 1.80 yd. D 150cm*** 1.60 1.80 1.90 1.90 m NOTIONS: A, B, C, D: 1.60 1.60 1.60 1.80 One Invisible Zipper: 2.00 2.00 2.00 2.00 DOUBLURE/FORRO 14" for A, B, 22" for C, Hook and Eye. C, D - 115cm - 1.00m m D, One MERCERIE: A, B, C, D: 1 Fermeture à glissière 55cm pour C, D, 1 Agrafe. invisible: 35cm pour A, B, MERCERÍA: A, B, C, D: 1 Cremallera invisible de para C, D, 1 Corchete. 35cm para A, B, de 55cm MESURES DU VÊTEMENT Mesure à la poitrine/Con FINI/MEDIDAS DE LA PRENDA ACABADA 40∞ 42∞ 44∞ 46∞ torno de busto Ins. A, B, C, D 84 87 89 93 98 103 108 113 118 Mesure aux hanches/Co 43∞ 45∞ 47∞ 49∞ cm ntorno de caderas " A 80∞ 82∞ 84∞ 86∞ 92 94 97 100 105 110 116 " B, C, D 121 126 cm 185 188 191 194 199 204 210 215 Largeur à l’ourlet/Anc 220 cm ho inferior A 120 122 125 128 133 138 143 149 B, C, D 184 187 190 193 154 cm 198 203 208 213 Longueur - dos, votre 218 cm nuque à l’ourlet/Larg o de espalda desde A, B, C, D 88 la nuca 88 89 90 90 91 92 92 93 cm ***Avec ou Sans *Avec Sens **Sans Sens
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FINISHED GARMENT MEASUREMENTS Measurement at bustline A, B, C, D 33 34 35 36∞ 38∞ Measurement at hipline A 36 37 38 39∞ 41∞ B, C, D 73 74 75 76∞ 78∞ Width, lower edge A 47 48 49 50∞ 52∞ B, C, D 72∞ 73∞ 74∞ 76 78 Back length from base of neck A, B, C, D 34∞ 34≥ 35 35≤ 35∞
*With Nap **Without Nap ***With or Without Nap
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In Sew Caroline Weekend Style, blogger Caroline Hulse delivers all the learn-tosew info a beginner needs, including must-have tools and materials, basic stitches and step-by-step finishing techniques. From there, you’ll be set to sew Caroline’s easy go-to pieces for all your weekend adventures. Stitch up co-ordinates to wear out to brunch, to an afternoon picnic, for relaxing at home and more. Don’t forget the finishing touches – versatile bag and accessory patterns stitch up in a snap to complete your outfits so you can step out at the weekend in style!
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30/05/2017 13:03 semi-ajustée FEMME: Tunique trapèze, ET ROBES POUR JEUNE B: Galon de ruban. Semi-fitted, A-line TUNIQUE d’encolure et de manche. A, MISSES’ TUNIC AND DRESSES: à pinces de poitrine, variations C: Cordon acheté. C: darts, neckline, and sleeve A: Bandes contrastantes. tunic and dress have bust A: A, B, C: Fentes latérales. trim. A, B, C: Side slits. achetés. C, D: Ourlet piqué. variations. A, B: Ribbon Túnica línea A, semicording. D: Purchased Perles JÓVENES Y SEÑORAS: Contrast bands C: Purchased TÚNICA Y VESTIDOS PARA y de manga. A, B: el busto, variaciones de escote contrastantes. C: beads. C, D: Stitched hem. entallada, con pinzas en Aberturas laterales. A: Bandas Ribete de cinta. A, B, C: cosido a máquina. compradas. C, D: Dobladillo Cordón comprado. D: Cuentas ZZ(G/G-TG/XG-TTG/XXG) Toile de lin. Séries/Combinaciones: Y(TP/XP-P/P-M/M), Satin de coton, Façonné, ZZ(L-XL-XXL) Labrada, Lino. TISSUS CONSEILLÉS: Cotonnade, Combinations: Y(XS-S-M), Linen. de algodón, Satén de algodón, Cotton Blends, Sateen, Dobby, TELAS SUGERIDAS: Mezclas TG/XG TTG/XXG G/G SUGGESTED FABRICS: M/M P/P 24-26 TAILLES/TALLAS TP/XP 20-22 16-18 XXL XL 12-14 L 8-10 M 4-6 S 2.00 m XS 1.90 1.80 24-26 SIZES 1.50 1.50 1.50 12-14 16-18 20-22 8-10 1.60 m 115cm*** 4-6 1.60 1.40 2∂ Yds. A 1.30 2 1.30 1π 1∫ 1.30 1∫ 150cm*** 1∫ " 1≥ 45"*** A 1≥ - 1.20m 1∞ 1∑ 1∑ A, C 1∑ CONTRASTE A - 115, 150cm*** 60"*** NTRETELA TERMOADHESIVA - 1≤ yds. ENTOILAGE THERMOCOLLANT/E CONTRAST A - 45", 60"*** 2.70 m A, C 51cm - 1.00m 46, 2.70 2.70 FUSIBLE INTERFACING 2.70 2.60 2.60 2.70 m 115cm*** 2.70 2.00 2π Yds. B 18", 20" - 1 yd. 1.90 2π 1.80 2π 2π 1.80 2≥ B 150cm*** 2≥ " 2π 45"*** B 2π NTRETELA TERMOADHESIVA 2∂ 2 1π 1π ENTOILAGE THERMOCOLLANT/E 60"*** 3.20 m B 46, 51cm - 1.30m 3.20 3.20 FUSIBLE INTERFACING 2.70 2.70 2.60 2.40 m 115cm*** 2.40 2.30 3∞ Yds. C 18", 20" - 1∑ yds. 2.00 3∞ 2.00 3∞ 2π 2.00 2π 3.70 m 150cm*** 2≥ 3.40 " 3.40 2∫ 45"*** C 3.40 2∫ 3.20 2∞ 2∂ 3.20 2∂ 3.40 m 115cm*** 2∂ 3.40 Yds. D 3.40 4 60"*** 3.40 3∫ 2.70 3∫ 3∫ 2.30 3∞ D 150cm*** 3∞ " 3∫ 45"*** D 3∫ NTRETELA TERMOADHESIVA 3∫ 3∫ 2π 2∞ ENTOILAGE THERMOCOLLANT/E 60"*** B. C: D 46, 51cm - 1.10m 6.00m pour A, 4.40m pour FUSIBLE INTERFACING A, B: Rubans de 1cm ou 1.5cm: 18", 20" - 1∂ yds. yds. for B. C: 1≤ yds. MERCERIE: Ribbons: 6∞ yds. for A, 4≥ para B. C: de Cordon. D: Perles achetées. 4.40m 1.20m A, NOTIONS: A, B: ∑" or ∫" de 1cm o 1.5cm: 6.00m para MERCERÍA: A, B: Cintas Cording. D: Purchased Beads. compradas. ACABADA 1.20m de cordón. D: Cuentas FINI/MEDIDAS DE LA PRENDA MESURES DU VÊTEMENT de busto 135 cm Mesure à la poitrine/Contorno 125 115 104 95 90 Ins. A, B, C, D 53 49 de caderas 45 149 cm Mesure aux hanches/Contorno 138 128 118 109 104 B, C, D inferior 192 cm Largeur à l’ourlet/Ancho 182 171 161 152 147 desde la nuca D à l’ourlet/Largo de espalda cm 88 Longueur - dos, votre nuque 87 85 84 83 81 116 cm A 115 113 112 110 109 102 cm B 100 99 98 97 95 150 cm C 149 147 146 145 143 o Sin Pelillo D *Con Pelillo **Sin Pelillo ***Con
24 Reader Review.indd 24 M7408
www.instagram.com/dream.cut.sew FINISHED GARMENT MEASUREMENTS Measurement at bustline 41 37∞ 35∞ A, B, C, D Measurement at hipline 46∞ 43 41 B, C, D Width, lower edge 63∞ 60 58 D neck Back length from base of 33 32∞ 32 A 44 43∞ 43 B 38∞ 38 37∞ C 57∞ 57 56∞ D
34 45 39∞ 58∞
33∞ 44∞ 39 58
34∞ 45∞ 40 59
" " " "
or Without Nap *With Nap **Without Nap ***With
*Avec Sens **Sans Sens ***Avec
ou Sans Sens
Say hello to Diane at
A C B
Copyright© 2016, The McCall
U.S. Pat. & TM Printed in U.S.A. Trademarks Reg. York 10271, All Rights Reserved. Pattern Co., 120 Broadway, New manufacturing purposes. www.mccallpattern.com only and not for commercial or strictement interdite. Sold for individual home use Utilisation commerciale ou industrielle Reserve à un usage personnel.
Off. Marca Registrada
In true McCall's fashion the instructions were quite easy to follow, however I'd make a small addition; on the ‘V’ neckline, reinforce the bottom of the ‘V’ D B A
Size Y/ZZ Taille (6-26 : XS-XXL) Talla
In issue 42 you'll find a fun review of McCall's
SURES/MEDIDAS DEL CUERPO XL BODY MEASUREMENTS/ME L M S XS 20-22 SIZES 16-18 12-14 8-10 4-6 42-44 38-40 29∞-30∞ 31∞-32∞ 34-36 34-37 Bust 30-32 26∞-28 24-25 22-23 44-46 Waist 40-42 31∞-32∞ 33∞-34∞ 36-38 17≤-17∞ Hip 15≥-16 16≤-16∞ 16≥-17 Back Waist Length 15≤-15∞ TG/XG G/G M/M P/P TP/XP 20-22 TAILLES/TALLAS 16-18 12-14 8-10 4-6 97-102 107-112 87-92 80-83 75-77 87-94 Poitrine/Busto 76-81 67-71 61-64 56-58 Taille/Cintura 102-107 112-117 92-97 85-88 80-83 Hanches/Caderas Longueur dos/Largo espalda 42.5-43 44-44.5 39-39.5 40-40.5 41.5-42
XXL 24-26 46-48 Ins. 39-41∞ Ins. 48-50 Ins. 17≥-18 Ins. TTG/XXG 24-26 117-122 cm 99-105 cm 122-127 cm
I feel really happy with my finished dress and I love the easy style. I can’t wait for the UK weather to warm up a little bit so I can get to wear it! 45-45.5 cm
YELLOW MAGENTA CYAN
The pattern includes sizes 6- 22, which are grouped into two batches of 6-14 and 16-22. I like the fact that they aren’t all together in one batch. I usually need a size 12 for my bust shoulders and hips and I need to go a little bigger for my waist. I graded out slightly at the waistline from the 12 and toiled the bodice. The fit was good straight off and I think the sizing is pretty much spot on, with just the right amount of ease. I also did a couple of other minor fit tweaks – I made the shoulder seams a little less sloped, raised the armhole depth about a ½" and added 1" to the skirt length. I decided to make view A with a capped sleeve and the A-line skirt. Guthrie & Ghani kindly provided me with this fabulous linen/rayon blend, perfect for a versatile dress with a casual vibe. It’s a Robert Kaufman textile called Brussels Washer Yarn Dye chambray and you can find it priced £13.70 per metre at www. guthrie-ghani.co.uk
doublées, à JEUNE FEMME: Robes de manche et de JEUNE FEMME/PETITE variations d’encolure, fitted ROBES POUR DRESSES: Lined, ajusté, coutures princesse, neckline, corsage MISSES’/MISS PETITE à bordure. princess seams with DE TALLA PEQUEÑA/MEDI jupe. A, C: Imprimé bodice dresses have JÓVENES Y SEÑORAS corte princesa, variaciones de A, C: Border prints. VESTIDOS PARA sleeve, and skirt variations. corpiño entallado, forro, ANA: Vestidos con con cenefa. y de falda. A, C: Telas escote, de manga E5(14-16-18-20-22) A5(6-8-10-12-14), plus Imprimé à Séries/Combinaciones: Popeline, Satinette, Satin. A, C: en 2) , E5(14-16-18-20-2 Prints. TISSUS CONSEILLÉS: Tissus à doublure. C: en plus Telas A, C: also Border Combinations: A5(6-8-10-12-14) bordure. Doublure: algodón, Satén. A, Poplin, Sateen, Satin. Popelina, Satén de SUGGESTED FABRICS: TELAS SUGERIDAS: 22 20 Telas de forro. 18 16 Lining: Lining Fabrics. 14 con cenefa. Forro: 12 10 8 6 150cm*** TAILLES/TALLAS con cenefa) - 115, 22 20 3.10 3.20 m 18 16 14 A (Imprimé à bordure)/(Telas 2.80 2.80 3.00 3.00 3.10 12 10 8 6 2.70 2.70 SIZES telas) 45", 60"*** 3∑ 3∞ Yds. 2.00 2.10 2.10 m 3≤ 3∑ A (Border Prints) 3≤ A (D’autres tissus)/(Otras 3 1.60 1.80 1.90 3 1.50 m 2π 2π 1.50 1.60 1.60 1.40 1.40 1.50 115cm*** 1.40 1.30 1.30 1.30 2≤ 2≤ Yds. 2.00 2.00 m 2∂ 2 A (Other Fabrics) 150cm*** 1.30 1π 1.80 2.00 2.00 " 1≥ 1≥ 1.60 1.60 1.60 1∫ 1∫ 45"*** 1∫ 1≥ 1∞ 1∞ 1∞ B 150cm*** 1.60 1∑ 1∑ A, B - 115cm - 1.10m 2∂ 2∂ Yds. 60"*** 1∑ 1∑ 2∂ 2∂ 150cm*** 1π DOUBLURE/FORRO 1≥ 1≥ con cenefa) - 115, 1≥ 4.30 4.40 m B 60"*** 1≥ C (Imprimé à bordure)/(Telas 3.70 3.80 3.90 4.00 4.20 - 1∂ yds. 3.60 3.60 LINING A, B - 45" telas) 45", 60"*** 4∫ 4≥ Yds. 2.40 2.40 2.60 m 4∑ 4∞ C (Border Prints) 4≤ C (D’autres tissus)/(Otras 4∂ 2.20 2.30 2.30 4 1.90 1.90 m 3π 3π 2.20 2.20 2.20 115cm*** 1.80 1.80 1.80 1.60 1.60 1.60 2∫ 2≥ Yds. 2.00 2.00 m 2∞ 2∫ C (Other Fabrics) 150cm*** 1.60 2∞ 1.80 2.00 2.00 " 2∑ 2∑ 2 1.60 1.60 1.60 2 45"*** 2∑ 2∑ 1π 1π 1π D 150cm*** 1.60 1≥ 1≥ C, D - 115cm - 1.00m 2∂ 2∂ Yds. 35cm pour A, B, 60"*** 1≥ 1≥ 2∂ 2∂ 1π DOUBLURE/FORRO à glissière invisible: 1≥ 1≥ 1≥ A, B, C, D: 1 Fermeture D 60"*** 1≥ C, D, One MERCERIE: D, 1 Agrafe. 55cm - 1 yd. 14" for A, B, 22" for 35cm para A, B, de LINING C, D - 45" 55cm pour C, D: One Invisible Zipper: D: 1 Cremallera invisible de C, NOTIONS: A, B, C, MERCERÍA: A, B, Hook and Eye. LA PRENDA ACABADA para C, D, 1 Corchete. FINI/MEDIDAS DE MESURES DU VÊTEMENT o de busto 118 cm 103 108 113 Mesure à la poitrine/Contorn89 98 93 87 84 A, B, C, D no de caderas 116 121 126 cm Mesure aux hanches/Contor97 100 105 110 94 92 210 215 220 cm A 194 199 204 185 188 191 B, C, D inferior 143 149 154 cm Largeur à l’ourlet/Ancho 128 133 138 120 122 125 208 213 218 cm A 193 198 203 la nuca 184 187 190 de espalda desde B, C, D 93 cm nuque à l’ourlet/Largo 91 92 92 Longueur - dos, votre 90 90 89 88 88 o Sin Pelillo A, B, C, D **Sin Pelillo ***Con
Like Diane's dress? Turn to page 10 for 20% off this fabric and more at www.guthrieghani.co.uk
I never seem to make up a pattern without doing a little bit of a hack of some kind, so on my version I decided to add in-seam pockets at the side seams and top-stitch with two rows down the sides, along the hem and all around the neck and armholes using two strands of coral pink thread... one of my favourite colours. I should also mention that although you line the bodice fully, you don't line the skirt lining. I did however, because I figured it might help to prevent my fabric from creasing, which linen has a tendency to do.
MEASUREMENTS FINISHED GARMENT Ins. 42∞ 44∞ 46∞ Measurement at bustline35 36∞ 38∞ 40∞ 34 A, B, C, D 33 " 45∞ 47∞ 49∞ Measurement at hipline 38 39∞ 41∞ 43∞ " 37 36 82∞ 84∞ 86∞ A 76∞ 78∞ 80∞ 75 74 73 B, C, D " 56∞ 58∞ 60∞ Width, lower edge 50∞ 52∞ 54∞ " 49 86 48 84 47 82 80 A 78 76 72∞ 73∞ 74∞ B, C, D " base of neck 36≤ 36∞ 36 Back length from 35≤ 35∞ 35≥ 34≥ 35 A, B, C, D 34∞ Nap Nap ***With or Without *With Nap **Without
*Avec Sens **Sans
Sens ***Avec ou Sans
Sens *Con Pelillo
Copyright© 2017, The
his fabulous pattern is really versatile, with three skirt and sleeve options and two styles of neckline. It’s a dress that could suit casual, dressy, cocktail or even wedding wear, depending on the type of fabric and how you style it. You could even make the full-skirt option midi length and add a full petticoat for a 50s vibe.
B Marca Reg. U.S. Pat. & TM Off. A Printed in U.S.A. Trademarks .com 10271, All Rights Reserved. purposes. www.mccallpattern Broadway, New York McCall Pattern Co., 120 commercial or manufacturing strictement interdite. use only and not for commerciale ou industrielle Sold for individual home personnel. Utilisation Reserve à un usage
A5 , E5
Size Taille Talla
with a small amount of interfacing fused to the WS so that when you slash right into the point it helps prevent fraying. I also added iron-on stay tape down within the neckline seam allowance to prevent stretching the diagonal grain.
DEL CUERPO 22 20 S/MESURES/MEDIDAS 18 14 16 BODY MEASUREMENT 10 12 8 44 Ins. 6 42 40 36 38 SIZES/TAILLES/TALLAS 37 Ins. 30∞ 31∞ 32∞ 34 34 32 Bust 25 26∞ 28 30 46 Ins. 23 24 44 42 38 40 Waist 32∞ 33∞ 34∞ 36 17≤ 17∞ Ins. 16∞ 16≥ 17 Hip 15∞ 15≥ 16 16≤ Back Waist Length 102 107 112 cm 92 97 83 87 94 cm 77 80 87 81 71 76 Poitrine/Busto 64 67 117 cm 58 61 97 102 107 112 Taille/Cintura 88 92 44.5 cm 83 85 44 43 Hanches/Caderas 40.5 41.5 42 42.5 espalda 39.5 40 Longueur dos/Largo
Diane of blog www.dreamcutsew.com shares her thoughts on your McCall’s free gift
FABRIC Supersize your floral prints this summer for maximum impact
Ted Baker Painted Posie bedlinen collection. Duvet covers from ÂŁ90, housewife pillowcase pair ÂŁ35, feather-filled cushion, ÂŁ35. Go to www.ashleywildegroup.com for stockistsâ€™ details
Fabric shopping Stunning floral flowers printed cotton sateen ÂŁ5.50 per metre, www.bstfabrics.co.uk Black glitter floral cotton ÂŁ5.99 per metre, www.calicolaine.co.uk Amerilis cotton lawn ÂŁ15 per metre, www.fabricgodmother.co.uk Pixel floral print chiffon ÂŁ9.99 per metre, www.remnantkings.co.uk Coquet in Bouquet Joie de Vivre Voile Bari J for Art Gallery Fabrics ÂŁ4.25 per 1â „4 metre, www.thevillagehaberdashery.co.uk Flame Roui viscose ÂŁ9.50 per metre, www.fabricgodmother.co.uk www.lovesewingmag.co.uk 25
25 fabric focus.indd 25
N I S E V I R R A ALTRINCHAM Family run since 1964
A MASSIVE RANGE of fabrics, yarns & sewing accessories in store now... all at very competitive prices!
Other branches at . . . BIRKENHEAD
8-12 Greenway Rd, CH42 0NG
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Classes aft r C
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65 Frodsham St, CH1 3JJ
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55 Old Hall St, Stoke-on-Trent ST1 3 AU
4-44 Stafford St, L3 8LX
111-115 Oldham St, M4 1LN
Coast Road, Llanerch-Y-Mor, CH8 9DX
Tel: 01745 562100
Unit 3b Corporation St, PR1 2UQ
Tel: 01772 202677 abakhan.fabrics
Unit 2B, Burnden Park, Manchester Rd, BL3 2NE
Tel: 01204 388430 abakhan.fabrics
ICHFSummerShows 132x196:Layout 1 22/05/2017 11:54 Page 1
This season visit the ultimate crafter’s paradise! S 2017 SUM MER SHOW
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NEC, Birmingham • 30 June - 2 July EventCity, Manchester • 7 - 9 September Westpoint, Exeter • 21 - 24 September
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SHOP OF THE
FRANK NUTT SEWING MACHINES Kings Heath, Birmingham Frank Nutt Sewing Machines is a true family business; it started servicing and selling machines when Frank’s grandfather first went into business! We chatted to Claire at the shop to find out more Hi there! How are you and what are you up to at the shop today? I’m at the shop today because I’m teaching a workshop; Frank, Lucy and Charlene are all in the shop serving customers and demonstrating the machines. Tell us a bit about the shop's history Frank’s grandfather, Steve, first put the Nutt family on the map for supplying and servicing sewing machines by opening his business in Alum Rock, Birmingham, back in 1949. Frank is a third-generation Nutt and was brought up above his parents’ shop in Sutton Coldfield, Birmingham. It was inevitable for Frank to follow suit! Frank opened his own shop in Kings Heath in 1985 and since then, the business has grown substantially. In May 2015 Frank collected
the keys to a new, much larger shop just 200 yards up the road from where it all began.
come and try the models in the shop to see which they prefer.
What do you think sets you apart from other shops? We have around 100 sewing machines and overlockers on display, all ready for demonstration, as well as one of the largest selections of Horn cabinets and chairs. We also have two Bernina long arm machines all set up ready for anyone to have a go on them!
Do you run any workshops in store? I teach free-machine embroidery workshops in the classroom upstairs. I teach a complete beginner's class called Thread and Texture and then various more advanced classes. You can find out more at www.clairemuir.co.uk
What sewing machine would you recommend to a new, and an experienced, sewist? To a new sewist, I would recommend the Janome 2200XT. It has 20 stitches, an automatic buttonhole feature, and the feed dogs can be lowered making it perfect for free-machine embroidery.
We have around 100 sewing machines on display!
For an experienced sewist there is more choice across all the brands, so that is a tricky one to answer! We use Brother F420s in the classroom and it is a great machine to use, especially with its needle threader and thread cutter. I particularly like the Bernina 570QE with its touch screen. It has over 600 stitches and comes with a walking foot and BSR (Bernina Stitch Regulator), enabling you to free-machine embroider with even stitches. Buying a sewing machine is such a personal purchase, which is why we encourage customers to
We also run Brother Software classes, and more information can be found at www.franknutt.co.uk/ workshops/pe-design-training
Is there anything exciting coming up that you’d like to tell our readers about? We are off to the Quilts UK show this week at Malvern and in June we are holding a Bernina Longarm evening at the shop. We run different events throughout the year so we advise our customers to check out the website and see what’s going on!
FRANK NUTT SEWING MACHINES www.franknutt.co.uk The Old Stables, 17-23 Poplar Road, Kings Heath, Birmingham B14 7AA 0121 444 3978
27 - Shop of the month.indd 27
15 MINUTES WITH...
KHALIAH ALI We chatted to Khaliah about her work as a McCall's designer, how to shop ethically and how sewing can empower you!
here's no denying Khaliah will be known to most as the daughter of boxing great Muhammad Ali. But this multi-talented lady has a lot more to offer, including sharing her skills with the sewing community through her gorgeous McCall's pattern line. Let's get to know her better. Hi Khaliah. Thanks so much for finding time to talk with us! I'm so delighted to chat with your readers. Moreover, especially knowing that you're a publication in England. Without a doubt London is my favourite place in the entire world, and there's a few other surrounding cities that have my heart as well. I've been there a dozen times or more. London was my father's favourite city as well! We’re big fans of your pattern line with McCall’s. You’re clearly a skilled designer but how often do you get to sew, if at all? Sewing for me is an indulgent, decadent experience! I usually catch up at the weekend and from time to time I take my knitting projects on holiday with me. Do you ever get fan mail from women who’ve made your patterns? Are you aware of the amazing results they have had with your designs? Throughout the years I've been touched and humbled by
the letters I have received. It's been extraordinarily helpful. It's great to get feedback and learn what people are thinking and what they want. I love this particular segment of fashion because the women are so incredibly creative and talented. I love looking on the web and seeing the photographs that they post based on the garment they have made from my patterns. Words can't describe how gratifying that is! And it's great to see the different variations on pattern and colour choice. Through your work as a motivational speaker and author you’ve shared the story of your weight loss journey. How would you put into words your attitude to body confidence now? I'd like to start by saying there's no finish line! Those who are 'fighting their weight' know exactly what I mean. It's a lifelong journey. Although I continue to battle the scales I've also learned to find greater peace, love and acceptance for my body. Ultimately it's about being healthy, both physically and mentally. That's one of the reasons sewing is so significant to me and so empowering. If I couldn't find it I could make it or have it made! Our bodies are different and as unique as our fingerprints... and sometimes fashion can be so cookie-cutter. All the same this is a significant period in history for plus-size fashion and women. Every day there are more options and reflections of our beauty and significance in the world. We’d love to know when fashion started to play an important role in your life At an early age I was endlessly in trouble for playing in my grandmother's and mother's closets – especially when I took scissors to garments and tried to recreate them! That never went too well. It became especially important growing up as an overweight child. I can still remember the particular outfits
interview khaliah Ali.indd 28
I had (there weren't many) that filled me with self-confidence and made Khaliah is the fifth me feel better about myself. There of Muhammad Ali's nine were so many things I looked at and children and lives in dreamed of wearing. In my early Philadelphia with her teens I realised the things I wanted husband and son to wear simply weren't available in my size or made for my body type. I began sewing then with my grandmother's sewing machine. I had a small business making jewellery and selling clothing that I refurbished or made myself. In my early 20s I started my career as a plus-size model at Ford models in New York City. However, I was much more captivated by the thought of creating the apparel than wearing it as a model, and was inspired by the activism of Kenneth Cole creating a fashion line that had great meaning and social causes. How would you describe your aesthetic? Is there an item in your wardrobe that you wear the most or couldn’t live without? Like many people in fashion I'm a victim of wearing entirely too much black. I tend to gravitate toward charcoal, navy too. Comfort is definitely key. I prefer fabric that is easy care and easy wear. I'm more about fit than the style.
In my early teens I realised the things I wanted to wear simply weren't available in my size or made for my body type. I began sewing then with my grandmother's sewing machine ABOUT
Khaliah Ali Khaliah Ali is a noted spokeswoman, author, designer and former model. Her line of patterns for McCall’s features stylish separates, dresses and outerwear in sizes 8-24 with some designs extending to size 32. Keep your eyes peeled for Khaliah’s new design for McCall’s later this year on the Sew Direct website www.sewdirect.com
Do you have any favourite fashion designers who inspire you in your work or perhaps those that fill your wardrobe? As a vegan not only do I admire the work that Stella McCartney does but I'm so inspired by her commitment to not using any animal products. Along the same lines I have great admiration for Kenneth Cole and the social platform that he has created. As a woman I feel that we have such power in what we buy. I also wear what are being called 'earth-friendly' or 'grown' diamonds. I think it's great that we have the option. As a consumer, I like the ability to make purchases that make me feel good.
interview khaliah Ali.indd 29
Feeling Tropical A
Available from fabric stores and websites countrywide. Or visit www.sewdirect.com
McCall's advertisement Love Sewing issue 41.indd 1
CUT OUT & KEEP
Impress your dinner guests with this glamorously girlie pinny from Threaders at Crafter's Companion
31 apron.indd 31
MATERIALS & TOOLS • 1.5m of pink fabric for underskirt ruffle, waistband & ties • 1m of floral cotton fabric for contrast layer • co-ordinating thread • printed templates
NOTES: Seam allowance of 5/8" is included unless otherwise stated
HOW TO MAKE: 1 Cut out the pattern pieces on folded fabric. If using fabric with a one-way design as we did, make sure you
position the pattern piece the correct way up, eg make sure the flowers aren't standing on their heads! 2 For the ruffle you’ll need three times the length measurement of the two hems, this will measure approximately 10 feet. This should be cut to 3" wide and ideally cut from the crossgrain. You’ll probably have to join a few pieces together! 3 Before you begin, fold the strip in half lengthways WST and press. 4 Pinch the folded fabric
into pleats of roughly 5/8" in width and pin. (See Pic A.) 5 Machine-stitch close to the raw edge to hold the pleats in place. 6 Pin the pleated edging on the RS of the underskirt, facing inwards then baste in place. Lay the corresponding lining piece on top RST and sew. Trim the seam then turn RS out and press. (See Pic B.) 7 Now repeat for the contrasting layer. 8 For the waistband we've suggested a strip of fabric measuring 4.5x60” – this can be lengthened if necessary. 9 Fold the strip in half lengthways, press, then fold the raw edges over
all the way around by ½”. Press again. (See Pic C.) J The waistband goes on like bias binding. Open up the folds, and pin centrally to the waist of the apron, RST. K Sew around the waist, then turn the strip over and pin all the way around. Remember to fold in the raw ends for a neat finish. L Finally, top-stitch all the way around the open sides of the tie, trapping the apron in the centre.
Threaders Cottontail collection Spring Garden and Blowing in the Wind Pink, all £5.99 per metre, www.crafterscompanion.co.uk
31 apron.indd 32
IN THE GOOD
BOOK OF THE MONTH
Girl with a Sewing Machine By Jenniffer Taylor £12.99 Search Press
Tell us what inspired you to write the book From the moment I picked up a needle and thread to make my first garment, my wedding dress, I have never felt so empowered! For me, sewing is capable of transforming how you feel as well as how you look. Through my #sewingrevolution workshops and my own sewing journey, I want to encourage people to give it a go – the book felt like the next best way to do exactly that. Creativity is contagious, pass it on! What’s your favourite pattern from the book and why? That’s a tough question as each project has a story. The one pattern I live in has to be the dunga dress I'm wearing on the cover. I have so many variations of it and, of course, it has pockets!
PURRFECT MAKES Kat Roberts’s Crafting for Cat Ladies is packed with 35 kittythemed crafty projects to delight and inspire feline fans of all ages. £14.99 from www.larkcrafts.com
BOOKS Our pick of this month’s new sewing and dressmaking books
How has your experience on the Sewing Bee influenced your sewing? I’m always ready for a challenge! Being on the Sewing Bee has definitely given me the confidence to take on anything! The lovely Claire-Louise Hardie, the sewing producer on the Sewing Bee and author of the third Sewing Bee book Fashion with Fabric mentioned how I had grown with confidence since appearing on the show as I delivered the workshop, which was a massive compliment.
What do you think May Martin and Patrick Grant would think of your book? I think they would be really proud to see what I have achieved since being on the Sewing Bee. I was so pleased and a little scared to hear that May has reviewed my book. I have so much respect for them and to hear that May thinks that my book would inspire both experienced and novice stitchers was just amazing. What can we look forward to from you over the next few months? I’m going to be super busy promoting my book. I will be running workshops
FUN WITH FELT Sew, craft and make fabulous gifts and accessories from felt with the latest book from Laura Howard, Super-cute Felt. £12.99 from www. rylandpeters.com
as well as doing book-signing sessions but after that I’m going to start planning my next challenge!
PRETTY PATCHWORK Discover 100 different techniques and 15 step-by-step projects, with the all-new How to Quilt & Patchwork book from the team at Mollie Makes. £9.99 from www. pavilionbooks.com
*see page 62 for how to enter www.lovesewingmag.co.uk 33
D S N I AM H E BE E S TH
With Wendy Ward
Learn how to get more from each piece of fabric you work with through the art of zero-waste design
So, what exactly is zero-waste sewing? According to Wikipedia, zero-waste fashion “refers to items of clothing that generate little or no textile waste in their production”, logical so far? Especially in the light of the staggering statistics that tell us that of the 400 billion square metres of fabric manufactured each year, 15% is wasted in cutting, that’s an enormous 60 billion square metres – to put it into perspective, enough to cover Switzerland and Wales! That’s an awful lot of fabric. As makers of our own clothes, we can immediately see how this can happen when we’re carefully trying to dovetail pattern pieces together to get the most out of our precious fabric, only then to be left with a collection of awkwardly shaped offcuts. As sewists though, we have the power to start making a change! A few weekends ago I had the opportunity to find out more about zero-waste sewing at a seminar organised by the champion of all things sustainable and ethical in sewing – the lovely Charlie Ross of Offset Warehouse.
Eve and Franki. Photography © Charlie Ross
ero-waste fashion, zero-waste design and zero-waste sewing are all terms that have started to pop up more recently. It’s a topic that’s closely linked to my recent series on stash busting to promote carefully planned construction rather than rushed sewing that never gets worn.
The key to zero-waste sewing is in clever cutting and creative use of offcuts. Designing a zero-waste dressmaking project is like putting together a jigsaw puzzle! At Charlie’s seminar there were a couple of creative pattern cutters showing us how they (and others) go about it. Eve Tokens (www.thecreativecurator.com) is a creative pattern cutter whose zerowaste dress design is shown on the mannequin above. You only have to spend a few minutes flicking through the pages of any book on the early history of clothing and you will realise that a zero-waste approach isn’t new. For kimonos, saris and
Franki Campbell (www.frankicampbell. co.uk) is interested in zero waste design and introduced us to the work of some well-established zero waste fashion designers: - Holly McQuillan a designer, maker and writer who mainly works in sustainable design - Timo Rissanen a fashion designer specialising in zero waste fashion design who also teaches his techniques in New York - Julian Roberts is a UK-based designer and teacher who has developed a technique known as substraction cutting, where the aim is to shape a piece of fabric by taking away strategic small parts
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ABOUT WENDY WARD
clothing worn in medieval Britain you could say that all these garments are zerowaste designs. However, these garments were created at times when fabric was considered precious, and therefore expensive, which was the main drive behind their design and minimal wastage. The fact that we now need to re-educate ourselves about zero-waste design is another symptom of our throwaway culture in which many people don’t think twice about wasting great chunks of fabric. Similarly in large scale massmarket garment manufacturing, designers are usually very remote from (and often never even meet) the pattern cutters within a company. This harks back to one of my bugbears about much of the fashion industry (and fashion education); how on earth can you successfully produce a really meaningful, welldesigned, quality garment that will have a long life if you don’t have at least some idea of how it will be made? This definitely drives my own design process!
Make good use of your leftover fabric
inspiration on how to use offcuts for small garment parts and how to use them as embellishment on your garment). - Piece together leftover fabric creatively to use it again in another project. - Don’t always follow the cutting plan given in your sewing pattern – they’re usually on the generous side so you might find with a bit of jiggling you can use less fabric!
After the seminar Charlie shared a design for a zero-waste dress for a new book Slave to Fashion by Safia Minney (founder of Fairtrade clothing brand People Tree). If you follow Charlie on Instagram (@offset_warehouse) you’ll see some photos of the gorgeous frocks participants created on the day. I also want to mention the venue – Building Bloqs (www.buildingbloqs.com) is a wonderful open-access making space in north London. The whole thing was spot on and we need more spaces and events like this. So how can you incorporate some zero-waste techniques into your sewing? - Use leftover scraps creatively (have a read back at my first stash-busting article (in issue 36, which you can get from www.moremags.com or www.craftstash.co.uk) for ideas and
34 Behind the seams.indd 35
I spent seven years working in the fashion industry before moving to teach dressmaking from my own studio, MIY Workshop, in Brighton. MIY Collection is my range of easy-to-follow modern sewing patterns. I have also written two books about dressmaking; A Beginner’s Guide to Making Skirts and The Beginner’s Guide to Dressmaking. Both available from all good bookshops. www.wendyward.co.uk www.miycollection.com www.miyworkshop.co.uk
I’ve just ordered my copy of Zero Waste Fashion Design by Timo Rissanen & Holly McQuillan. Here’s some suggested reading and watching if you’re inspired and want to know more: - The RSA’s YouTube channel is inspiring and challenges accepted norms about society and how we work: www. youtube.com/user/theRSAorg - Slave to Fashion by Safia Minney. - www.makeuse.nz – website of Holly McQuillan where you can find several zero waste dressmaking projects to download for free - www.timorissanen.com – follow the artist’s work. - www.subtractioncutting.tumblr. com – for more on the work and teaching of Julian Roberts
With a bit of creativity you can often use less fabric! This zero-waste dress features creative seam placement
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Free as a
BIRD The Tania top is a great way to make a breezy summer blouse and practise your bias binding skills Project CLAIRE GARSIDE
Chaffinch Bough Brushed Cotton Twill – midnight blue, £14.60 per metre, www.holmsown.co.uk
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SIZING CHART 6
HOW TO MAKE: MATERIALS & TOOLS â€˘ 1.5m of light or medium-weight fabric â€˘ 50cm-square piece of fabric if making contrast bias â€˘ co-ordinating thread â€˘ templates downloaded from www.lovesewingmag.co.uk
FABRIC SUGGESTIONS â€˘ Light to mid-weight cotton, lawn, viscose, crepe and silk work best. Lace and chiffon can also be suitable if French seam construction is used. â€˘ Allow extra fabric for one-way designs.
Create the bias binding using the masterclass on page 39. You will need approx. 1.6m for the ties and keyhole. You can always make extra if youâ€™d like to bind the armholes instead of using sleeves. Sew the bust darts on the bodice front and press downwards. (See Pic A.) Place the front and back bodices RST and sew at the shoulder seams. Press the seams open. (See Pic B.) Repeat for the side seams. You might like to try French seams â€“ detailed on page 85! On the WS of the keyhole
Simple Sew patterns offers British-designed sewing patterns in printed and PDF formats. See the full range, take a peek at what the blogger team have been making and find helpful tutorials and tips at www.simplesewpatterns.com
37 shell top copy.indd 38
pin the RS of your small bias neat finish. (See Pic C.) Note: binding piece around the If making a sleeveless top, opening and sew at the first sew bias binding around the fold. Fold over along the armholes also. centre crease to With RST fold enclose the raw one sleeve in half, edge and topand sew the side stitch on the seam. (See Pic RS. D.) Press the Mark the seam open. Before making your centre point Repeat for bias binding, spray of your the other your square of fabric long bias sleeve. Sew with starch for greater piece and the sleeve in control on the WS of place within the centre back the armhole by align the RS of the placing them RST bias with the raw edge and and using gathering pin all around. Sew along the stitches to ease the first crease; this will leave sleeve in if necessary. approximately 40cm unsewn Turn up the sleeve hem, at each end. (you should have overlocked Fold over the short ends by or zigzag-stitched the raw 1cm then fold over the bias hem edge already as a part as you did with the keyhole of your general preparation) to the RS so it encloses the and sew in place. Press with seam allowance. On the RS, iron. (See Pic E.) top-stitch the bias around the Turn up the hem, pin or neckline, down to the ends press in place, then sew to of the bias binding keeping secure. Press to complete. the ends tucked inside for a (See Pic F.)
Making your own bias tape is a great technique for a co-ordinating look. We show you how to maximise your fabric. crossgrain
Sew the two crossgrain triangles you have created together and straight grain press the seam open. Mark parallell in crossgrainrows straight water-soluble marker that grain single-fold crossgrain start bias4cm tapefrom the edge. Try not to pull the fabric as you mark it as this will distort the bias. crossgrain
best as crossgrain possible. It may help straight to grain turn your work WS out to sew it, with your machine straight foot positioned inside grainthe loop. Press the seam open. crossgrain straight grain
Take a square piece of fabric and cut neatly along the diagonal centre as shown. straight grain
straight grain straight grain Cut along the lines you crossgrain marked with a small pair of needlework scissors. Pressdouble-fold your bias first along the long centre crease, then bias tape press each side towards the middle to create doublefold bias tape.
single-fold bias tape
single-fold biascrossgrain tape
Now sew the unsewn double-fold bias tape edges together to form a loop of fabric, ensuring your marked lines match up as
double-fold bias tape Now you can install your bias binding onto your garment.
single-fold bias tape 37 shell top copy.indd 39
double-fold bias tape 30/05/2017 16:34
Get set for
SUMMER with stunning separates
For patterns, inspiration, video tutorials and more head to
& selected retailers
This month 1'm making THE DECONSTRUCTED
Hila used Painterly Wash from AGF, available at www.minervacrafts.com
Hila took a tried and tested pattern that she loves and used her customisation skills to make a beautifully deconstructed dress. Read more about Hila’s sewing adventures at www.saturdaynightstitch.com
D THE MINERVA CRAFTS BLOGGER NETWORK The Minerva Crafts Blogger Network is a collection of amazing sewing and craft bloggers from across the world. Every month each blogger creates a unique kit from the thousands of gorgeous fabrics and notions available at Minerva Crafts. They wow us with their makes every month by blogging a project made with their kit on the network. There are new projects going live daily to inspire and educate sewists of all levels and abilities. Each blogger's unique kits are available to buy at www.minervacrafts.com
econstructed tailoring is a trend that has captured my imagination. I have made Grainline Studio's Alder shirtdress six times and, for me, it's a timeless classic and a wardrobe staple that I have come to rely on. It's part of my daily sartorial repertoire. I took a pattern that was familiar, a dependable backbone of my wardrobe, and gave it a moment in the spotlight.
The Denim Studio collection by Art Gallery Fabrics includes some truly premium fabric that is well worth investing in. I can't begin to write how beautiful Painterly Wash is; it’s vibrant, wonderful to handle and irons like a dream – everything a denim chambray should be and more. (£23.99 per metre at www. minerva crafts.com) I replaced the classic button front with a slightly experimental design. I love my Alder shirtdresses, but I was looking for a fresh of punch of style and boy was it fun to do! I’ve sewn my Grainline pattern in size 4. Having sewn this many times already, I didn’t need the
instructions, but the online sew-along at www.grainlinestudio.com is excellent. This is the first time I have added pockets, which was a simple matter of using in-seam pockets from another pattern and placing them where I wanted, and I love them! I used contrasting denim chambray for the button band, collar and inside yoke (my favourite feature of this dress). The armholes were finished in pink floral bias to add a lovely pop of colour. Everything went together as normal until I got to the buttonhole stage. That's when I used my dress form to 'deconstruct' it, in other words play around with draping and pinning. I wanted the straight-down contrast button band to have a fractured look and I love the contrast of the wood buttons with the deep blue of the fabric. Once I had pinned it out how I wanted it – the rest was hand stitching. I decided to do it by hand so that if I ever change my mind I can easily unpick it. I also made sure I didn’t put any buttonholes on the folded parts of the button band. The result is unique!
Customising a tried and tested pattern is a great way to make something feel new and exciting!
41 TMIM.indd 41
MATERIALS & TOOLS â€˘ â€˘ â€˘ â€˘ â€˘ â€˘ â€˘ â€˘ â€˘ â€˘ â€˘ â€˘ â€˘
1m medium-weight denim 80cm spotty cotton 20x45cm bonding web 8x18cm flesh-coloured felt for legs 10cm square patterned vintage-style cotton for lining 10x20cm red felt for dog collar, lead & shoes 18cm brown felt square for dog 2.5x2.5cm light brown felt for dogâ€™s ear 5cm square tartan fabric for dog jacket darning foot black thread brown thread (for dog fur texture) templates downloaded from www.lovesewingmag.co.uk
Taking a dog for walkies is the theme for this fun lined bag. The appliquĂŠ retro English motifs are stitched using free-motion embroidery Project designed by FIONA HESFORD Sewgirl
CUTTING 2 36cm squares pieces denim for outer front & back 2 36x8cm pieces denim for bag facing 2 75x8cm denim handles 2 28x36cm pieces lining fabric
NOTES A Âźâ€? seam allowance has been used throughout, unless otherwise stated Finished size approximately 34x30cm with handles 7cm long
HOW TO MAKE: With the Bag Front and Back outer denim pieces, trim a 5cm square from each lower corner to shape the base of the bag. (See Pic A.) Trace the shapes onto the paper side of the bonding web with a pencil. Fuse to the WS of their respective fabric and cut out. Turn to the ladyâ€™s leg and sew the fishnet effect by stitching crossed diagonal lines 5mm apart on the machine with the smallest stitch length. (See Pic B.) Peel off paper backing and place in position onto the bag
front piece as shown on the template. Fuse with your iron to fix in place. Using a darning foot in the machine, drop the feed dogs and free-motion embroider around the shapes. (See Pic C.) Take time to add detailed stitching onto the fur and give him cheeky eyes and a nose. (See the picture as a guide). When you are satisfied with how your dog walker and pretty pooch look, itâ€™s time to sew the bag together. (See Pic D.) Fold and press 1cm on each long side of the handles WST. Fold handle in half WST
aligning folded edges. Pin. Top-stitch along each long side 4mm from edge. Why not try a contrasting colour? Pin a denim facing to the top of each lining piece at longest side RST. Sew a 1cm seam. Press seam open.
Pin the raw ends of the handles at the top edge of the bag front 5cm each side of the CP and hanging downwards towards the bag. Tack-stitch to hold in place. Repeat for the back and the other handle.
Use your favourite scraps or vintage fabric to customise the dog walker's dress
applique bag.indd 42
MOTION Doodling with your sewing machine is a great way to personalise your projects and add fine details to your designs. Here are the essentials:
Place the bag front and one lining piece RST, aligning the denim facing with the top edge and keeping the straps tucked out of the way. Sew together with a 1cm seam and press the seam allowance towards the lining. Repeat for the remaining pieces. (See Pic E.) Arrange the front and back so they sit RST matching the linings and bag pieces. Pin all around, ensuring cross seams are aligned. Sew a 1cm seam
The little dog appliqué would look lovely on a simple zippered purse for a co-ordinating project
allowance all around, leaving an 8cm opening in the bottom edge of the lining and remembering to leave the two cut out corners unstitched. Press the seam allowances open at the base corners of the bag then pinch together the raw edges of the box corners, matching the cross seams. Sew across
the corners 1cm seam allowance. (See Pic F.) Turn bag to RS through opening in lining. Push out corners and slip-stitch closed. Attach a magnetic clasp if desired. Fold under and press the raw edges of the lining 1cm. Pin then stitch across to close the opening. Push the lining into the bag. Press. Voila!
1 You’ll need to locate the feed dog controls on your machine. This is to lower the metal teeth that protrude from the needle plate and feed your fabric under the needle. It is also called the ‘drop feed’ due to the way the teeth disappear between stitches. The lever or dial is often hidden from view by the accessories tray but can also be at the back of the free arm bed. 2 You are in control of the stitch pattern and can move the fabric in any direction to scribble on top with your needle. Keep the fabric flat by placing your hands on each side. 3 If you’re feeling nervous you can trace a design onto tissue paper, layer in on top of your work then trace the lines. Simply rip away the paper once you’re done.
applique bag.indd 43
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A FREE COPY OF CAROLINE'S NEW BOOK See page 22 for details
Don't let lightweight fabric get the best of you. Whip up this Darling dress by Sew Caroline Project CAROLINE HULSE
45 shiftdress.indd 45
A Dress Back RS
Dress Back RS
MATERIALS & TOOLS • 2.7m 112cm-wide or 2.2m 137cm-wide lightweight woven drapey fabric such as chambray, rayon or voile • 0.3m fusible interfacing • 14" zipper • co-ordinating thread • templates downloaded from www.lovesewingmag.co.uk
Sleeve WS Back WS
Dress Front RS
HOW TO MAKE: 1 Sew the darts on the front pieces of the dress. You’ll do this by aligning the dart markings to one another and sewing a straight line on the WS of the fabric. Taper your stitch off at the end and do not backstitch. Instead, leave a tail of thread and tie a knot to secure the stitches in place. When both darts have been sewn, press the dart seam allowance toward the hem of the dress. 2 Place the front and back pieces RST, aligning shoulder seams. Pin and stitch the shoulder seams in place. Finish the seams and press the seam allowances toward the back. 3 Prepare the sleeves by sewing two rows of basting stitches at 3mm and 6mm from the raw edge along the curve between the two notches. Gather between these notches and twist the threads around pins to hold the gathers in place. Lay the dress flat with the RS up. Align the sleeve along the opening with RST, matching the three notches. Distribute the gathers evenly.
Pin and stitch in place. Finish this seam and press toward the dress. (See Pic A.) Repeat for the other sleeve. 4 Place the assembled sleeve and dress RST, making sure the sleeve seams align. Pin and stitch in place from the sleeve hem to the bottom of the dress in a single motion. Finish this seam and press to one
SIZING CHART X Small
easy to remove later!). Press side. Finish the centre back this seam open. edges of the two back panels 6 Place the zipper RS down of your dress. on the WS of the dress, being 5 Place the dress flat with the careful to align it perfectly zipper laid on top. The top along the centre line. metal stopper should Set your machine sit where the back to a regular finished point stitch length will be on and attach the neckline. a zipper Mark on the Setting sleeves foot. Stitch dress where 'flat' allows you to the zipper the bottom sew the side seams to the dress, metal stopper in a single motion! being careful of the zipper not to catch the sits. Place the front of the dress two back panels of in your stitching. Stitch the dress RST. From the all the way around the zipper bottom, sew up to the mark teeth. Flip your dress over and you made on the dress and carefully remove the basting back-stitch. From this point to stitches. (See Pic B.) the top of the neckline, sew 7 Fuse the interfacing to using a basting stitch (so it's
45 shiftdress.indd 46
TRY? Swifting Flora Boho rayon, Art Gallery Fabrics
Blooming Soul in Plum voile, Art Gallery Fabrics
See www.hantex.co.uk/ mystockist for your local retailer
F Cuff WS
Fol Front RS
the facing and finish the outer edge of your facing piece. Place it RST around the neckline of the dress, being sure to match the centre front of the neckline (there will be overhang on the ends). (See Pic C.) Stitch the facing to the neckline. Fold the overhanging ends toward the WS so the raw edges will be enclosed when you flip the facing over. Clip the curves. Press the seam allowance up toward the facing and stitch at 6mm, just to the facing (this will help the facing to stay flat). Flip the facing to the WS and press the seams so they have a nice finish. Optional (but preferred
ABOUT THE BOOK
Sew Caroline Weekend Style, available now, ÂŁ18 (Fons & Porter)
by me): Stitch the inner edge of the facing to the shoulder seams of the dress. Place the frill portions of your dress RST. Stitch along the short ends to create one large loop. Press the seams open. Fold the loop with WST, aligning the raw edge. Stitch two rows of basting stitches along the top of the raw edge, one at 6mm and one at 3mm. Pull the threads and gather the skirt portion of your dress until the width matches the width of the bottom of your dress. Twist the threads around pins to hold the gathers in place. Align the gathered edge to the bottom of the dress. Match the side seams,
distributing the gathers evenly. Pin and sew the ruffle in place. (See Pic D.) To add the sleeve cuffs, first fold a cuff piece RST, matching the short ends, and stitch in place to create a loop. Press this seam open. Along one edge of the cuff, press the edge 6mm to the WS. Align the raw edge of the cuff with RST to the sleeve opening. Pin and stitch in place. Press this seam allowance toward the cuff. (See Pic E.) Fold the cuff to the WS of the sleeve and align the folded/pressed edge of the cuff right above the stitch line. Press the fold and stitch in place. Fold up the cuff and press. You may want to tack the cuff down at the underarm seam line. (See Pic F.) Youâ€™re finished and ready to show off your new dress!
45 shiftdress.indd 47
ASK THE EXPERTS
STITCHER Claire-Louise Hardie shares her secret weapon for comfy summer clothes
Why not upcycle an oversized garment? Use shirring to make an off-the-shoulder top
hat does the word shirring conjure up for you? Probably the ubiquitous tube dress or skirt. While I love these dresses to throw on when it’s a scorching hot day, they aren’t always the most elegant of dress styles, and they can accentuate a larger bust! However, don’t dismiss shirring as a technique, because it can add so much to your garment making! Here’s a couple of ways I like to use shirring:
1. AS AN ALTERATIONS WEAPON
2 You can also add shirring around the hem of baggy trousers or sleeves to totally transform the shape. 3 Adding shirring elastic around the neckline of an over-sized shirt is great way to transform it into an off the shoulder top!
2. FOR FABRIC MANIPULATION
If you’ve never tried using any fabric manipulation techniques, grid shirring is a simple way to add surface texture to fabric. One of my favourite summer vest tops has this interesting detail just below the straps, and I keep meaning to copy it! My friend and textile artist Ruth Singer has a fabulous book on fabric manipulation which covers other elastic shirring techniques too.
© White Stuff
1 Carefully placed shirring can add shape to boxy, ill-fitting clothes. I might add a few rows either on the front or the back waistline of a baggy dress or shirt. This is a great way to shape maternity wear!
3. ADDING A LITTLE EXTRA 'STRETCHABILITY'
Long before the invention of Lycra fabrics, shirring was used to create stretchy garments and was used to really good effect in swimwear and sportswear. Butterick 6019, the gorgeous 1950s dress pattern by Gretchen Hirsch is a fabulous example of how you can add an extra panel of shirring that allows movement and comfort without compromising the fit!
ABOUT CLAIRE-LOUISE Claire-Louise is an author, pattern designer, teacher and costumier. We recommend ClaireLouise's new course www.learntosewwithapro. com/ultimate-beginners Claire-Louise’s book, The Great British Sewing Bee: Fashion With Fabric, accompanied the third series of the show and is priced £20 from www.quadrille.co.uk
28 Thrifty stitcher.indd 48
MASTER SHIRRING AT HOME
Try this on one of your favourite fitted summer dress patterns and create a fitted look that feels much less restrictive. It’s the perfect way to make a dress for an event that involves lots of sitting and eating too! Cut your back pattern piece in half (it’s a little tricky sewing a zip into a shirred panel, so I suggest having only the side back panel shirred). Since shirring is stretchy, you’ll need to work out how much bigger your pattern piece needs to be to fit into the half back. Start by doubling the width of the pattern piece and testing the amount of stretch after you’ve stitched a few rows. You’ll want the shirred panel to be a little smaller when finished than your half pattern piece. Once you’ve worked out the size, make up the two half back pieces and insert between the side seam and the back panel. I’d suggest hemming the top edge of the shirred panel first. If you’ve never tried elastic shirring, here are my tips: " It is important to hand wind the elastic onto the bobbin. Wind it so there’s a little bit of tension, but not so it’s tight. The elastic shouldn’t look baggy on the bobbin. If it’s too tight or too baggy, you won’t get the elasticated effect as you sew. " Put your bobbin into your bobbin case in the usual way for your machine. It’s important that you do get the elastic into the tension guide on the bobbin, as you would usually do. From now on you use the shirring elastic in the same way as any bobbin thread. " Start your first row of shirring just by stitching 1cm away from the top of the
28 Thrifty stitcher.indd 49
Why not try the Gertie for Butterick dress - B6019?
hem. Start sewing right at the edge of the first row. For the second row, you the fabric and continue forward keeping can choose to either follow a stripe in your stitching line straight. You may see the fabric or you may use the width of the fabric starting to gather a little as the sewing foot as your guideline, or a you sew, but it doesn’t always happen on quilting guide. As you sew the second the first row. row, hold the fabric taut to stretch out " When you finish sewing each row, make the first row of stitches. This helps you sure to pull the elastic thread a long guide it in a straight line. way out before clipping. If you cut it " Once all your rows of shirring are too close to the fabric, it may ping back complete, hover your iron and using inside the bobbin and unthread. lots of steam you can shrink the " Shirring is achieved with parallel rows shirring down, making it appear much of stitching, so repeat the stages for neater and tighter.
The cocktail hour
Follow the fabulous blogger tour, chat with your favourite sewists and see pattern reviews at www.thefoldline.com/blog
Have you joined in with The Cocktail Hour yet? It’s a fun opportunity for sewists to come together and ‘sip and sew’! We’re thrilled to have Rachel and Kate from The Fold Line to share all the news from the fun blogger tour. So, who’s been sewing some DIY glamour this month?
Diary of a Chainstitcher
Fiona chose to make Vogue 1537 as she wanted to sew with a more structured fabric. She decided to use an amazing textured floral brocade. Fiona cut a size smaller than she usually would to get a more fitted dress, and made the jacket as well. In total this was 28 pattern pieces and the instructions take you through using lots of different sewing techniques. Therefore, Fiona would recommend this pattern for an intermediate sewist. The facing and lining makes the inside of the dress beautifully neat. The coat requires quite a bit of hand stitching, but this does give you a professional finish. One of her favourite features is the straps across the back of the dress, and she looks stunning! www.chainstitcher.blogspot. co.uk/2017/05/the-voguecocktail-hour-sew-along
THE COCKTAIL HOUR
n March, The McCall Pattern Company in the UK chose 20 of its most popular Vogue® patterns perfect for wearing while sipping cocktails. A contribution from every pattern sold in the inspirational edit will go towards supporting The Eve Appeal charity. Find out how to take part, plus read all about upcoming events at www.sewdirect.com
Lucy chose to make Vogue 1428 as she has always loved this pattern and has been waiting for an excuse to make it! Taking inspiration from the on-trend embroidery designs that are everywhere on the high street right now, Lucy decided to machine-embroider a design onto tulle rather than use lace for the dress over-bodice. She also adapted the skirt so that the style was more pencil shape and created a detachable tulle skirt overlay for more formal occasions. Lucy has shared a YouTube video on her blog and shows you how she machineembroidered the tulle, so take a look for some #sipandsew inspiration. The result is amazing, a great achievement!. www.sewessential.co.uk/blog/ cocktail-hour-blogger-tour-dress
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workshops GILLYBEE DESIGNS
GillyBee offers gorgeous fabric, patterns, ribbon and buttons for dressmakers, quilters and crafters, yummy yarn and a good range of haberdashery. In the GillyBee sewing room workshops for all levels take place using Juki sewing machines, Britannia overlockers and coverstitch machines. www.gillybee.co.uk 01603 716140
8TH JULY Tilly and the Buttons Cleo dungaree dress This one-day workshop will teach you how to sew seams and overlock them, apply facing and top-stitch. It’s a fun workshop, including all fabric and notions. Cost: £64.50
Book yourself in to one of this month’s top workshops and expand your sewing horizons!
12TH AND 19TH JULY GillyBee dress/tunic This two-week workshop is the first one using Gilly’s own design. It’s a great project for confident beginners to make a dress just in time for the summer holidays! Fabric and notions are included in the price. Cost: £69.50
22ND AND 29TH JULY GillyBee weekender bag You will make a lined bag with plenty of pockets to store everything in for a weekend away! Learn to apply foam stabiliser to make a professional bag with lots of top-stitching. Everything is included in the price. Cost: £65
22ND JUNE All about zips Quite often patterns say ‘insert the zip’ and with this workshop you will learn how to insert different types of zip. You will go home with five samples for future reference: centred, lapped, fly front, concealed and exposed. Cost: £35
5TH AUGUST – 6TH SEPTEMBER Summer sewing café Running on Wednesday evenings 6.309pm and Saturday mornings 9.30amnoon. Work at your own pace on your project and get dedicated guidance. Booking essential. Receive a discount when pre-booking four sessions. Cost: £12.50 per session or £45 for four
patterns to a made-to-measure garment, learn how to draft a skirt pattern to fit your body measurements. Sew your toile for fitting and learn how to adapt your custom made straight skirt pattern to five different styles. Materials are included. Cost: £115
GOLDSTITCH SEWING STUDIO
This unique sewing and embroidery studio stocks Liberty fabric, craft cotton and a fabulous range of good-quality dressmaking materials. Goldstitch also embroiders handkerchiefs, which make excellent gifts for special occasions. www.goldstitch.co.uk www.sewcafe.co.uk 0191 371 1444
Make a jersey T-shirt Learn how to handle stretch fabric and set up the overlocker for sewing. Calculate the correct amount of neck binding for your T-shirt and use a twin needle for hem finishing. The course includes 1.5m of the Liberty jersey fabric of your choice. Cost: £65
17TH JULY Roman blind workshop
13TH JULY All about the skirt Progressing from the commercial
Learn the process of making a simple Roman blind, with hand and machine stitching and test its operation! All fabric, tape and materials are included. Cost: £60
15TH JULY Slouch bag class Come along and make a fully reversible slouch bag suitable for transporting your sewing projects, as a bag for life or for a day out at the beach. For sewing workshops you must be able to use a sewing machine with a reasonable level of skill. Cost: £25
15TH JULY Pencil case class
An independent sewing store that stocks a wide range of fabric, including Michael Miller, Riley Blake and Tula Pink, and also offers classes in a variety of crafts where materials will be provided. www.handmadehappyhare.com 0114 245 5996
1ST JULY Introduction to sewing machines This course is designed for people who
have no or very little experience of using a sewing machine. Learn how to thread up a machine, joining two pieces of fabric using different seams, turning corners and button holes. There will be the opportunity to have a experiment with different stitches. It will allow you to familiarise yourself with the machines used by Happy Hare, enabling you to go on and enrol on other sewing classes. Cost: £20
Join us to make a handy box-bottomed pencil case. For sewing workshops you must be able to use a sewing machine with a reasonable level of skill. Cost: £20
8TH JULY Beginner’s machine patchwork – nine-square cushion This course involves making a simple patchwork cushion using squares of fabric. The completed size fits a 41cm cushion pad. For sewing workshops you must be able to use a sewing machine with a reasonable level of skill. Cost: £25
24TH JUNE Beginner’s crochet
Markeaton Park, Derby
This unique little sewing shop offers workshops, lessons and parties for adults and children, as well as haberdashery, handmade items and sewing machine servicing and repairs. Set in a beautiful park, this is so much more than just a sewing shop. www.sewnjo.com
Want to try something new this summer? Learn how to hold a hook, basic stitches, and everything you need to learn this popular craft. Beginner’s pack, tuition and refreshments included. Cost: £35
AUGUST – VARIOUS DATES Children’s sewing workshops These workshops will teach sewing skills whilst making a project in a fun lively atmosphere. Your child may be left for the workshop, and will be offered a drink and a snack. Cost: £20 per three-hour session
19TH AUGUST Children’s sewing workshop with Tracey Symonds Working with Sewing Bee semi-finalist Tracey, the children draft their own pattern and make a dungaree-style dress. Suitable for ages eight and over. Cost: £60
9TH SEPTEMBER Adult’s workshop with Tracey Symonds You will be guided through following a pattern for a denim skirt with pockets, and you will learn to cut the fabric and produce your very own skirt. Lots of help and support is on offer from Tracey and Jo, so beginners are very welcome. Cost: £60 www.lovesewingmag.co.uk 53
Caffle Crafts (01934) 838327 Family run shop with patchwork fabrics, embroidery threads and sales agents for Brother sewing and embroidery machines with extensive after sales support.
2 miles from J21 M5 BS24 6SE
15% OFeF with cod LOVE41
Luxurious fabrics, Dressmaking classes www.claire-tyler.com 01243 555312
www.bloomsburysquarefabrics.com 01730 810295
Fabric Patterns Workshops Fabric - Haberdashery - Workshops - Yarn Sewing Machines & Overlockers
Ely: 7 High Street Passage, Ely, CB7 4NB Tel: 01353 664000 Email: firstname.lastname@example.org
Bury St. Edmunds: 23 Hatter Street, Bury St Edmunds, IP33 1NE Tel: 01284 755459 Email: email@example.com
Temptations Craft Boutique An Aladdin's cave full of fabrics including Cotton Poplins, Linens, Wool Tweeds & Polyesters 100% Cottons for Patchwork and Quilting Knitting yarn and haberdashery Courses and workshops Agents for Brother Sewing Machines Visit our shop or buy safely online 31 Main Street, Bentham, North Yorkshire, LA2 7HQ Tel: 015242 61868 www.temptationsbentham.co.uk For shop opening times please see our website
COLOUR Bluebellgray blush velvet tassel cushion ÂŁ58.00 www.houseology.com
PERFECTION Art Editor Denise is sharing the latest stash-friendly trend of tassels and trims, with a pretty pastel touch 3
"Isn't it great when high street trends lend themselves perfectly to sewing, we're seeing tassel trims, and pompom's everwhere this summer, why not raid your stash and add a tasseled touch to your sewing room? I'm loving this trend teamed with soft pastel pinks and mints, with pretty watercolour prints for a subtle summery feel." John Lewis Mini Sewing Machine, Dusty Pink, ÂŁ59 www.johnlewis.com Blue chair, ÂŁ59.99 www.homesense.com Tassels, multiple colours, ÂŁ1.10 www.abakhan.co.uk Damson Raindrops Fabric, ÂŁ23.50 per metre www.justfabrics.co.uk Pink tassel pillow, ÂŁ12.99 www.homesense.com www.lovesewingmag.co.uk 55
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Let's have a
GANDER With some careful basting and stuffing youâ€™ll have a gorgeous new doorstop. Now you just need to decide on a name â€“ will it be Goose Willis or Geese Witherspoon?! Design ANEKA TRUMAN Made to Sew
MATERIALS & TOOLS â€˘ 40x80cm cotton, polycotton or lightweight upholstery fabric for body â€˘ 40cm square accent fabric for wings & beak â€˘ 20cm wide x 25cm high lightweight cotton wadding (optional) â€˘ polyester toy stuffing â€˘ sealed bag of stones (10-15 handfuls to act as the weight) â€˘ 2 beads or buttons for eyes â€˘ chalk or air-erasable marker
CUTTING â€˘ â€˘ â€˘ â€˘
Cut 2 body in main fabric Cut 2 beak in accent fabric Cut 4 wings in accent fabric Cut 2 wings in interfacing and wadding (optional) (do not add seam allowance to these pieces)
NOTES: The finished size of the goose is approximately 32cm (h) x 29cm (w)
HOW TO MAKE:
Liberty Betsy Ann tana lawn in red and Petal & Bud in blue www.liberty.co.uk 100% cotton wadding and polyester stuffing www.williamgee.co.uk
On a single layer of fabric draw around your pattern pieces to mark the accurate stitching line, remembering to flip the pattern as necessary to create a mirrored pair of pieces. (See Pic A.) Cut out with a 5mm seam allowance and if necessary mark the WS of the fabric to keep things clear. Draw quilting lines on the RS of the fabric in chalk or air-erasable marker (these can be copied from the pattern, we used lines 1cm apart). (See Pic B.) Position the wadding onto the WS of the fabric (the wadding should have no seam allowances and is designed to be 3mm smaller than the stitching line on the fabric.) (See Pic C.) Machine-stitch along the quilting lines through the single layer of fabric and wadding.
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Aneka Truman is the owner of Made to Sew where she runs sewing classes teaching dressmaking and tailoring techniques. Check out the Made to Sew YouTube channel for free how-to tutorials! www.madetosew.com B
Take the plain (non-quilted) wing, position onto the quilted wing with the RS of the fabric together. Stitch around the wing, leaving a small gap along the bottom edge for turning through. Trim the seam allowances and turn the wing to the RS through the gap. Hand-stitch the opening with a ladder stitch. Attach the beak onto the body of the goose (check it is the right way up). (See Pic D.) Position the body RST, matching the beak seam and stitching lines. Stitch around the goose; use a small stitch length such as 1.5mm. Leave a gap between the notches at the lower edge.
Trim the seam allowances Secure the opening at and clip the curves. Turn the the bottom of the doorstop fabric to the RS. Poke out with a slip stitch. the corners. Position the wings Add stuffing into the goose onto the goose, making body. Firmly stuff the neck and sure they are symmetrical head for support. on both sides. Hold in place Introduce the with pins. weight into the Sew the front middle of the of the wing (see doorstop (we markings on used 10-15 pattern) onto handfuls of the doorstop Remember to add your stones, in a with a slip own seam allowances, closed bag). stitch. Position (See Pic F.) but keep them small to stuffing Finish your reduce bulk around the feathered friend weight to by hand-stitching disguise lumps. a bead or button onto Keep adding stuffing until the both sides of the head for doorstop is firm. (See Pic E.) the eyes.
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clothspot.co.uk 01775 640996
New fabrics every Friday!
Learn Something New! Court Street, Trowbridge, BA14 8BR - 01225 762554 katiemakes.co.uk - firstname.lastname@example.org
THE GIRL WITH THE BRIGHT
Jade Earley was a finalist on The Great British Sewing Bee 2016 where she shared her love for sewing with the world. Follow her sewing adventures at www.facebook.com/ thegirlwiththebrightredhair
r i a h d Re
ello everyone, I hope you’ve had a fab month of sewing. This issue I wanted to share three of my favourite top patterns! It’s been pretty hard to decide but I managed to get there in the end and I hope my picks inspire you to make something fun this summer. Off the shoulder tops! My favorite pattern has to be my selfdrafted off-the-shoulder top! I am obsessed with this style, and I think I have versions in 20 different colours because it is so easy to make and just
In this issue, Jade recommends her three favourite tops for warmer weather
I loved making a shirt for my dad – it was really nice to make something for someone else! really comfy to wear! It's easy for summer but also great for winter with a cute jacket. Lisette for Butterick 6295 sports bra I'm not sure if you can call it a top but I love this sports bra pattern. I've always been a fan of Lycra and, after I did activewear on the Sewing Bee, I’ve made several versions of this pattern. I finished the garments with a coverstitch machine but you can use a twin needle to achieve a similar finish. I think I've made five versions so I'll never run out of sports bras now!
Negroni shirt by Walden Patterns My final recommendation would have to be one that I didn’t make for myself but for my dad. Have you heard of Walden by Colette Patterns? It's a smaller line, separated from the women’s patterns and I made the Negroni shirt. Find out more at www.waldenpatterns.com. I loved making this shirt because the pattern was so easy to follow and it was really nice to make something for someone else!
! g n i w e s y p p Ha www.lovesewingmag.co.uk 59
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Pretty sewing goodies, patterns, tools and the chance to win an exciting fabric and pattern bundle from our friends at Dragonfly Fabrics
£275 WIN A HABERDASHERY BUNDLE FROM DRAGONFLY FABRICS We’ve teamed up with our friends over at Dragonfly Fabrics to bring one lucky winner this money-can’t-buy bundle, bursting with sewing goodies that is guaranteed to make any dressmaking enthusiast swoon! Including 12 metres of fine dressmaking fabric, from poplin to cotton knit, in beautiful solids and prints, you will give your fabric stash a new lease of life with this bundle. Other prizes include independent dressmaking patterns from Grainline Studio and Merchant and Mills, sewing kits from The New Craft House and Tank, a pair of Prym embroidery scissors and a pretty thread spool holder that will brighten up your sewing room. Dragonfly Fabrics provides quality dressmaking fabric at affordable prices, including a lovely selections of natural linen fabric, cotton, wool, corduroy, jersey knits and more. You can also shop for your favourite designer’s patterns, stock up on your haberdashery supplies and find plenty of inspiration when you visit www.dragonflyfabrics.co.uk Gütermann thread not included in the prize
WIN AN EXCLUSIVE DEER&DOE BUNDLE
Win sewing kits from The Crafty Kit Company We have a bundle of mini sewing kits from www.craftykitcompany.co.uk to give away to a lucky reader this month, including charming kits to sew your own flamingo, polar bear and badger!
WIN An illustrated tape measure This unusual tape measure is soft, flexible and has a lovely feel and weight. It also includes quirky fashion illustrations from 1700s all the way through to the noughties to keep you inspired as you sew! We have one beautiful tape measure up for grabs from www.shopbeyond measure.co.uk
HOW TO ENTER
For a chance to win any of this issue’s giveaways, enter your details along with the names of the products you would like to win at www.ppjump.com/
lovesewing41 T&Cs: By entering these competitions, you accept that your email address may be passed on to sponsors for marketing activities. Closing date 20th July 2017
We’ve teamed up with Cotton Reel Studio to bring one winner a beautiful dressmaking bundle. Make the fabulous Deer&Doe Hoya Blouse in a stunning cotton lawn with delicate patterning that will be a perfect classy summer top! Shop for patterns, fabric and more at www.cottonreelstudio.co.uk
men’s pattern bundle
No need to fret about sewing for the man in your life with this excellent bundle of sewing patterns! We have one bundle up for grabs, which includes a Mr London pattern from Sew La Di Da Vintage, a copy of The Gentleman’s Wardrobe by Vanesse Mooncie (£16.99 available from www.thegmcgroup.com) and two Thread Theory patterns, which you can find online at www.backstitch.co.uk www.lovesewingmag.co.uk 61
We’ve had a spring clean here at Love Sewing HQ and have found a wealth of wonderful sewing tools, goodies and more that we are delighted to offer our readers the chance to win! We have over 85 prizes up for grabs, so what have you got to lose by entering? Prizes include • Fat quarter bundles for 15 winners, from Dashwood, ADF, Cloud 9, Sew Easy, and more • Goodies from Gütermann for 15 winners • Clover sewing accessories for 10 winners • Sewing books for four winners • Hemline bundles for three winners and much, much more! Enter the Love Sewing Lucky Dip online, along with all of our regular giveaways for your chance to win. Keep an eye out in issue 42 when we will be sharing out the goodies we found in the Love Sewing pattern vault!
THE BIG LOVE SEWING
3 to win
DISCOUNTS SAVE 50% on Kwik Sew patterns with code LOVESEWING41 when you call 0344 880 1263 before 13th July 2017 Not available online, P&P charges still apply
SAVE 20% on your fabric shopping at www.guthrie-ghani.co.uk when you enter code LOVESEW41 Offer ends 20th July 2017
Sewing accessories giveaway from Clover Three winners this month will each receive a bundle of Clover sewing accessories that are perfect to drop into your sewing box for when you need them most. Prizes include jumbo wonder clips, great for holding your fabric in place without the need for pins, and an Elastic lock set, ideal for inserting elastic into garments. Email email@example.com for stockist information.
on sewing patterns at www.craftstash.co.uk/sewing when you enter code LOVES41 and make sure to turn to page 72 for a special offer! Offer ends 27th July 2017
SAVE 10% on The A-Line Dress from www.theavidseamstress.co.uk when you enter code A-LINELOVE Offer ends 13th July 2017
SAVE 10% on the Marshmallow Dress (adult and child) from www.cocowawacrafts.com with code LOVEMALLOW
Phil Collins Fine Furniture Bespoke Cabinet Maker
We make all of our furniture by hand • Sewing Cabinets with a lift for machines, made in solid wood or wood veneer • Sewing Tables & Cutting Out Tables • Sewing Boxes All of our pieces are made to your own size and specification Please see our website for all of our furniture
fabrics enter SEWNOW15 at checkout
RELEASE YOUR HANDMADE Quality dressmaking and craft fabrics online. Leicestershire based sewing classes. New knits and woven cottons now in stock.
T H E U K ’ S N O .1 S E W I N G M A G A Z I N E
To advertise please contact Noune on 0161 474 6997 or email noune.sarkissian@ practicalpublishing.co.uk
STYLE These classic trousers will suit any styleconcious man perfectly! Project VANESSA MOONCIE
DAPPER 64 www.lovesewingmag.co.uk
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HOW TO MAKE:
FINISHED LEG LENGTH FROM WAIST
43 1/3” (110cm)
FINISHED HEM WIDTH
MATERIALS & TOOLS • 2.3m of 45”-wide (115cm-wide) or 2m of 60”-wide (150cm-wide) suiting, linen, denim, twill, corduroy, tweed, or mediumweight wool • 0.9m of cotton lining • 50cm light-medium weight iron-on interfacing • co-ordinating thread
• 8” (20cm) closed-end zip • 3/8” (1cm) trouser fastening • 11m of 5/8”- wide (1.5cm-wide) bias binding for neatening the seams • templates downloaded from www.lovesewingmag.co.uk
NOTES: Seam allowance is 5⁄8” (1.5cm) throughout, except at the centre back seam where it increases to 1¼” (3cm) at the waist
FRONT AND FLY 1 With the fronts RST, stitch along the seam of the front crotch for around 1” (2.5cm) from the medium dot. Stitch over the first line of stitching once more to reinforce the seam. 2 Snip into the right leg front 3⁄8” (1cm) at the medium dot. Turn under the seam allowance by 3⁄8” (1cm) along the right front above the snip and press. (See Pic A.) 3 Arrange the closed zip, so it sits behind the folded edge with the lower end of the zip ¼” (0.6cm) above the medium dot and the fold close to the teeth of the zip. Tack in place. (See Pic B.) 4 Fuse interfacing to the WS
of the left fly piece. Neaten the outside edge of the fly with bias binding. 5 With RST, pin the left fly to the left front opening, matching the dots and notches. Stitch to the medium dot at the base of the opening. Snip the left trouser front to the medium dot. Trim the seam above the snip. (See Pic C.) 6 Press the seam towards the fly facing. Sew the seam allowance to the facing, stitching to the medium dot, close to the previous line of stitches. (See Pic D.) 7 Press the fly to the inside. Overlap the left front over the right, matching the dots. The left front will overlap the right by around ¼” (0.6cm). Tack the fronts together. 8 With the RS of the garment together, open out the left fly. Tack then sew the zip to the left fly, close to the teeth, using a zipper foot. Stitch a second row ¼” (0.6cm) from the first row of stitching. (See Pic E.) 9 Press the fly to the inside of the garment. Tack the fly to the inside, along the 5⁄8” (1.5cm) seam line of the curved edge. On the RS of the garment, top-stitch the left front along the tacking line. Remove the tacking stitches. Fuse interfacing to the WS of the right fly. Place the right fly and right fly facing RST, matching notches and sew along the curved edge, leaving the top and front edges open. Trim the seam and notch the curve. Turn the fly RS out and press. Tack the raw edges together. Neaten the raw edge with binding. Tack the right front edge over the bound edge of the right fly, matching the dots and aligning the raw, upper edges. On the outside of the garment, stitch close to the right front edge, sewing through all layers using a zipper foot. Remove the tacking stitches. (See Pic F.)
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FRONT POCKETS Press under ¼” (0.6cm) on the long, straight edge of the pocket side piece. Pin the WS of the side piece to the RS of the pocket, aligning the raw edges and the pressed edge of the side piece with the line indicated on the pattern. Stitch close to the pressed edge of the side piece. Tack the raw edges together. Press under ¼” (0.6cm) on the long, straight edge of the pocket facing. Pin the WS of the facing to the RS of the pocket, aligning the raw edges and the pressed edge of the facing with the line indicated on the pattern. Stitch close to the pressed edge of the facing. Tack the raw edges together. (See Pic G.) With WST together, fold
ABOUT THE BOOK
The Gentleman’s Wardrobe, Vanessa Mooncie, £16.99 (GMC Publications)
the pocket along the line indicated on the pattern, matching the small dots. Join the lower edges with a French seam, by stitching from the small dot to the folded edge, ¼” (0.6cm) from the raw edge. Snip to the small dot, trim the seam and notch the curve below the small dot. (See Pic H.) Then turn WS out and press. Stitch 3⁄8” (1cm) seam from the small dot to enclose the edges, finishing the French seam. With RST, pin and stitch the faced edges of the pockets to the front of the trousers, matching the notches and dots. Trim the seam. Press the pocket to the inside. On the outside of the garment, top-stitch ¼” (0.6cm) from the edge of the pocket,
pivoting the needle when it is parallel to the medium dot and stitching to the medium dot. Tack the top and side edges of the pocket to the trousers to hold them in place while finishing the garment. BACK Stitch the darts in the trouser back pieces and press towards the centre back. Fuse interfacing to the WS of the trouser backs following the dots and to the welts. Turn under and press ¼” (0.6cm) on the lower edge of the welts. Stitch close to the pressed edges. Press under ¼” (0.6cm) on the long edge of the pocket facing without dots. Pin the WS of the facing to the top half of the RS of the pocket, matching the small dots. Stitch close to the pressed edge of the facing. Tack the raw edges to the pocket. Press ¼” (0.6cm) to the RS of the pocket along the long edges. Stitch close to the pressed edges. With WST, matching the dots, pin the pocket to the trouser back. Stitch along the pocket lines, between the small dots. (See Pic I.) With RST, pin the welt of the pocket to the back, matching the dots. Stitch along the stitching lines, between the small dots. Do not stitch across the ends. Slash the welt, trouser back and pocket on the line indicated on the pattern to within 3⁄8” (1cm) of both ends. Snip diagonally into the corners, taking care not to cut through the stitches. (See Pic J.) Draw the welt through the slash to the WS of the back pieces. Press the raw edges away from the pocket opening. Press the welt up. Press a fold in the welt piece so the crease is in line with the top of the rectangular opening, forming the welt of the pocket. (See Pic K.) Stitch the triangular ends
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J on each side of the opening pin each strip to the waist at to the ends of the welt. (See the small dots, aligning the Pic L.) Then on the outside raw edges. Tack in place. of the garment, stitch along WAISTBAND Fuse interfacing to the the lower edge of the welt, WS of the waistband pieces. sinking the stitches in the Neaten the unnotched edges seam line. On the inside of the of the waistband pieces with garment, arrange the pocket binding. With RST, matching so it is free from the garment notches and dots, pin and and stitch the pressed edge of stitch the waistband pieces the welt to the pocket. to the top edge of the With RST, fold the pocket trousers, securing the belt along the line indicated on loops at the same time. Trim the pattern, matching the 1½” (4cm) from the front end small dots. Stitch the sides of of the left waistband. Trim the pocket together, 3⁄8” (1cm) the excess zip. Trim and layer from the edges below the the seams. Press the seams small dots, catching the ends towards the waistband. Anchor the belt loops to of the welts in the stitches. the trousers by top-stitching Work a second row of across each one, 3⁄8” stitches close to the (1cm) from the pressed edges. On the waistband seam outside of the line. Work a garment, second line of fold the stitching over waist edge the first. The tutorials included in this Join down project are just as applicable inside leg and and pin to woman's trousers crotch seam. the pocket Why not indulge in With RST, together, some tailoring? matching notches, matching the sew the inside leg small dots. Tack the seams. Press the seams layers together along the open and neaten the edges seam line. Stitch along with binding. the seam line, through all With RST, matching the layers. (See Pic M.) On the outside of the seams, notches and dots, garment, stitch along the pin and stitch the crotch top and at each end of the seam from the end of the welt opening, sinking the stitching at the base of the fly stitches in the seam line and opening at the front, through sewing through all the layers. the centre back and the Tack the top edges of the waistband. (See Pic N.) Work pocket and trousers together. a second row of stitches Join back and front pieces over the first to reinforce the With RST, sew the side seam. Trim the seam between seams, matching the notches. the medium dots. Neaten the Press the seams open edges with binding. Press the and neaten the edges back seam open above the with binding. medium dot. Turn under and press ½” BELT LOOPS Cut a 19x1½” (48 x4cm) (1.25cm) at the front edges strip of fabric. Turn the long of the bound edge of the edges to the centre and press. waistband. With RST, fold Fold in half lengthways and the waistband along the line stitch along both sides, close indicated on the pattern and to the edges. Cut into six stitch the front ends. Trim the equal lengths of 3 1/8” (8cm). seams. (See Pic O.) Turn the waistband RS out On the RS of the trousers,
and press. Pin and tack the waistband in place on the inside of the trousers. On the outside of the garment, stitch along the seam line to secure the waistband on the inside of the garment. Remove the tacking stitches. HEM Neaten the raw edge with zigzag stitch, seam binding or by turning under ¼” (0.6cm) and stitching close to the fold. Turn under the hem allowance and tack in place, close to the fold of the hem. Slipstitch the hem by hand. Remove the tacking stitches. Finish belt loops and
fastening Turn under 1⁄4” (0.6cm) at the top end of each belt loop. Stitch each one to the top of the waistband, stitching close to the turned edge of each belt loop. Work a second row of stitches over the first to secure the loops. Sew a hook and bar to the waistband to fasten the trousers. Machine sew a bar tack at the base of the fly opening, the base of the front pockets and at the top of the front pockets, 3⁄8” (1cm) from the waistband seam line, taking care not to catch the bound edge of the waistband in the stitches.
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Shows you how to...
READ A PATTERN CIRCLE DOTS
These marks indicate construction details, such as zipper position, pleating, or the endof-stitching line, as set out in the instructions. Some pattern companies will use triangles or squares in place of circle dots.
PATTERN CUTTING LINE
Each line relates to different size for the garment. There can be up to 10 sizes on a pattern sheet so you can either follow a single cutting line throughout or blend carefully between sizes to achieve a better fit.
The arrow on the pattern piece must be ‘on grain’ with the threads of the fabric so that it can hang, move and stretch correctly. The grainline must always be parallel to the selvedge (the self-finished edges) of the fabric.
BUTTON & BUTTONHOLE PLACEMENT
The placement for a button is marked with an X. The placement for a buttonhole is marked with an edged line. TUCKS/PLEATS
Transfer any tuck lines marked on the pattern PLACE ON FOLD LINE
This edge of the pattern piece is to be placed on the fold of your fabric, making it easy to cut out a mirror image at the same time. pieces to the RS (right side) of the garment. Follow directional arrows where given.
SA (SEAM ALLOWANCE)
Parts of the fabric to be folded for shaping, usually located at the bust, waist and neck.
Every project you sew has a set seam allowance. This is the distance between where you sew and the raw edge of the fabric – essentially an invisible line around each pattern piece. These lines are occasionally included on vintage patterns. You must sew at the seam allowance in order for the pieces to line up correctly. Most commonly this is 1.5cm, but check your instructions in case smaller allowances are being used. Sewing machines have marks for the seam allowance to the right side of the presser foot.
Make a tiny snip or chalk mark at each notch location, within the seam allowance. These marks are used to match pieces together before sewing.
RS (RIGHT SIDE AKA FABRIC FRONT)
These explain how to lay each piece onto the fabric to ensure that all of the pieces will fit on the fabric quantity suggested on the envelope. Remember to follow along with the correct view and size. Don’t forget to take care with directional prints; you wouldn’t want a floral print top with all the flowers upside down.
LS41.P68 Pattern Adjustments.indd 68
Instructions for placing right sides of fabric together will be written as RST. LENGTHEN OR SHORTEN LINE
This indicates exactly where to shorten or lengthen the pattern piece or garment to make changes for improved fit.
WS (WRONG SIDE AKA FABRIC BACK)
Instructions for fusing interfacing to the wrong side of fabric will be written as WST.
ACHIEVE THE PERFECT FIT Draw a third horizontal line a little above the hem between Line 1 and the centre front of the pattern.
First, you need to work out how much additional space you require around the bust or what youâ€™d like to remove. Here is a helpful chart to work out the amount: Small bust example
Full bust example
Full bust measurement
High bust measurement
1/2â€? SBA = half the difference
11/2â€? FBA = half the difference
Cut along Line 1 from the hem to the armhole, making sure not to cut all the way through the armhole. Leave a hinge so you can pivot the paper. The point of the dart has now swung away from its original position. Cut through the line in the middle of the dart, again leave a little hinge at the tip of the dart so you can pivot.
The lower edge of your hem no longer meets at the bottom, as the side that has been adjusted is now longer. Cut the third line you drew, and spread apart until your hem is level. Fill in the spaces created with tracing paper, and stick into place.
Using a ruler and pencil, draw a vertical line from the marked point to the hem. Make sure the line is parallel to the grainline on the pattern.
SMALL BUST ADJUSTMENT (FIG E) Draw in the lines as per an FBA adjustment. This is essentially the same process in reverse.
From this line, draw a second line up towards the armhole, hitting the lower third of the armhole. Together, these lines are called Line 1.
Swing the darted side of the pattern across the other side, by the desired SBA amount. The lower edge of the hem no longer meets at the bottom, as the side that has been adjusted is now shorter. Cut the third line you drew, and overlap until your hem is level.
Draw a second line horizontally through the middle of the bust dart, meeting Line 1 at the bust point.
Some patterns will come with an adjustment line for narrow or broad back drawn on. If your pattern doesnâ€™t, you can easily do this yourself. NARROW BACK (FIGS A â€“ C) B
Line up the cut edges of Line 1 so theyâ€™ve been spread apart by the amount of your FBA. The edges should be parallel. Youâ€™ll notice that your dart has now spread apart too and become bigger.
FULL BUST ADJUSTMENT (FIGS A-D) Lay the tissue pattern against yourself to establish where your bust point is. Mark onto the pattern with a cross.
Draw a vertical line down from the shoulder, 3cm from the armhole to just below the bottom of the armhole. Draw a second line at a right angle from this point. Cut along the two lines, and slide the armhole side overlapping the paper. Stick in place. A small Âźâ€? adjustment is often enough. Play around with this amount as you develop your fitting skills. Use a ruler and pencil to true up and re-draw the side seam and shoulder seam. Because we have only adjusted the upper back, the fit should remain the same around the waist. (See the orange lines on Fig B.) Youâ€™ll now need to make the front shoulder width a little shorter. Line up the notches on the shoulder ensuring sure the neckline is lined up. The front width will be a little longer than the newly adjusted back shoulder. Draw a new, narrower line from the back around the front, trimming a little of the front armhole away. Donâ€™t forget to make sure your new curved line is smooth at the shoulder. BROAD BACK ADJUSTMENT (FIGS D AND E) D
ADJUSTING FOR HEIGHT
SHORTEN A PATTERN (FIG A) Working at 90Ëš to the grain, make corresponding tucks across the front and back bodice, at bust and below armhole. Make corresponding tucks across the front and back of skirt below the hips. For sleeves, shorten above and below the elbow, avoiding the sleeve head curve. LENTHEN A PATTERN (FIG B) Working at 90Ëš to the grain, cut across the front and back bodice, at bust and below armhole. Cut across the front and back of skirt below the hips. For sleeves, cut above and below the elbow, avoiding the sleeve head curve. Spread the pattern pieces as required and fill the spaces with scrap paper. A
BELOW THE HIP ADJUSTMENTS (FIG A) To decrease the width, make a graduated tuck from the waist to the hem, tapering to nothing at the waist, indicated by the dotted line. To increase the width, cut the pattern piece through the waist to the hem, place over scrap paper and spread to the required size.
LS41.P68 Pattern Adjustments.indd 69
Start in the same way as a narrow back adjustment drawing the two lines and cutting along them.
Instead of overlapping the cut pattern pieces, spread them. As before there are no hard and fast rules, but with a broad back a Âź-Â˝â€? adjustment is about right. Fill in the space with some tracing paper and stick together. Use a ruler and a pencil to true up and re-draw the side seam and shoulder seam. (See the orange lines on Fig D.) This time youâ€™ll need to make the front shoulder a little longer. As with the narrow adjustment, line up the shoulder seams, ensuring the neckline is aligned. Draw a curved line from the back shoulder down towards the front armhole, adding a sliver to the front shoulder and armhole. Check that youâ€™ve drawn a smooth line over the shoulder.
Lingerie Sew-along ASK THE EXPERTS
In this issue Alison talks us through the first steps of sewing luxurious lingerie Alison.indd 70
Alison Smith MBE talks us through the Lingerie Sew-along, and how important it is that a garment is as gorgeous on the inside as it is on the outside
shown above. You can get 50% off this pattern with Love Sewing’s exclusive discount code – see page 86 for details.
here has been a huge resurgence in the making of lingerie and underwear in general, but what do we mean by lingerie? Lingerie is the soft side of underwear, the camisoles, French knickers, slips, nighties and negligees, not bras. Bras come under the term 'contour' as they are made to shape and support the body, whereas lingerie skims over the body. There are three areas you need to consider – pattern, fabric and lace, and I will look at each of these in turn.
What is lingerie fabric? It's unlikely you will find a section in your local store labelled 'lingerie fabric'. Lingerie fabric needs to be fine, soft and silky, maybe even a very fine jersey will do. The fabric you need to look at includes silk satin, lingerie and bra suppliers. silk charmeuse, fine polyester satin and polyester To make your lingerie georgette. Look for special, try the notsubtle prints as well so-obvious colour as plains. Consider combinations, grey how to care for on pink or pale blue, MY CRAFTSY CLASS the fabric you or coffee lace on ON MAKING LINGERIE – have chosen – ivory silk JUST FOLLOW THE LINK ON silk for example MY WEBSITE can be washed Gather your pattern, WWW.SCHOOLOFSEWING. but it will fade fabric and lace and CO.UK FOR A SPECIAL and will require in the next part I DISCOUNT! careful washing will start with the and pressing. A good techniques you need quality polyester though for best results. can be machine-washed time and again.
See page 12ff! for 50% o
All the large pattern companies have at least one lingerie pattern in their catalogue, even if it's only a pair of pyjamas. However, look online and there are many downloadable PDF patterns, especially for knickers! If you are searching for a simple full-length slip, check out some of the easy dress patterns as sometimes the ones that are just a back and a front can be adapted.
The lace on the lingerie makes the garment. Unfortunately, suitable lace can be hard to come by. Many shops will stock white and ivory, and occasionally black, edging laces designed for garments or bridal wear. These laces can often be coarse and scratchy against the skin. To see if the lace is scratchy just rub it across the inside of your wrist or across your tights – does it catch? If so, it will be very itchy to wear next to the underarm or leg.
The pattern I am using to demonstrate on for this sew-along is Kwik Sew 2589,
Coloured lace and softer lace is available, though you may have to look online for
Until next time!
ABOUT ALISON SMITH Awarded an MBE for her services to dressmaking, Alison is an industry expert in classic couture and a published author. Alison has her own shop and line of patterns, and you can also learn with Alison at one of her exclusive workshops. Find out more on her site www.schoolofsewing.co.uk
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Lorraine used a stunn ing scuba fabric to make the Butterick jacket from issue 35. We’re big fans of a tw o-piece set, and what a great fit!
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option B option D
Sewed The G reat British Sewing Bee cl assic men’s T-shirt from is sue 23 using a fab bat-prin t jersey – wha ta brilliant fabric choice, Iwon a.
5-IN-1 WARDROBE BUILDER JACKET, CARDIGAN, DRESS, SKIRT AND PANTS This loose-fitting dress has a stand collar, side pockets, sleeves with continuous placket, pleats, button cuffs and self-belt. The close-fitting cardigan has neck/front bands and stitched hems. The simple skirt has self-lined yokes and back zip closure with a hem vent. The straight-legged pants have a waistband, side pockets and mock fly zipper. The unlined jacket has shoulder pads, princess seams and two-piece sleeves. A, D and E are semi-fitted with built in ease.
Fabric Requirements SIZES
Length (base of neck to hem)
Fusible knit interfacing A
Length (base of neck to hem)
Helen Gale 0.8m 0.8m
Fusible knit interfacing B
Fusible knit interfacing C
Fusible knit interfacing D
Fusible knit interfacing E
Jenny asked you... TC1607 multi garment LS.indd 1
DRESS, BELT C
“I made this lo vely shirtdres s from the Thre adcount patt ern free with issu e 27. I learnt so many techniqu es the fabric from making it and my local mar ket fabric stall co mplemented the style perfectly !” DRESS, BELT C
FINISHED GARMENT MEASUREMENTS 12 10 8 6 SIZES JACKET A
Designed for medium-weight woven fabric and moderate stretch knits. FABRICS: A, C, D, E: Poplin, Jersey, Gabardine. B: Cotton
Length (base of neck to hem)
Length (waist to hem)
Side length from waist
(A) 1/2” shoulder pads, 2 x 7/8” buttons. (B) 5 x 1/2” buttons. (C) 12 x 1/2” buttons. (D) 7” zip, hook & eye, 1/2” seam binding. (E) 7” zip, hook & eye.
w w w.t h r e a d c ou n t pat t e r n s . c om
What’s your favourite finishing technique?
Get in touch jenny.riley@practical publishing.co.uk
73 Readers makes.indd 73
A – Lining B – Facing C – Bias binding
C 34% www.lovesewingmag.co.uk 73
We’ve got summer covered with these six perfect sleeve styles to try next
Set in simplicity Pretty pleats
We love the pleated sleeves in this multi-view pattern pack. This classic shell top works in all kinds of woven fabric and features separate pattern pieces for different cup sizes. Find it for £8.25 at www.sewdirect.com in sizes A5 (6-14) and E5 (14-22).
The A-line dress is the newest pattern release from Avid Seamstress. Featuring a fitted bodice, loose sleeves and sophisticated V-neckline, this garment will add timeless elegance to any wardrobe. Available in sizes 6-22 and priced £16 from www.theavidseamstress.co.uk
on this dress with co de LOVESEWING41
74 pattern picks.indd 74
Why not sew the classic sleeve finish? Anne Klein presents two types of cuff plackets on Vogue 1463. This loose, flowing blouse also has an optional button front, collar and piped yoke. Find it online for £15 at www.sewdirect.com in sizes A5 (6-14) and E5 (14-22).
Beautiful bell cuffs The Primose Peplum top by Sew Caroline actually has five sleeve variations, but our favourite is the bell. This throw-on top has a gathered peplum, an exposed zip at the back and includes sizes XS-XXL. Head to www.hantex.co.uk/mystockist to find your local retailer.
Hate installing sleeves? The Kalle dress and shirt from Closet Case Patterns has a grown-on kimono sleeve, modern length variations and either a stand or mandarin collar, all in sizes 0-20. Head to www.hantex. co.uk/mystockist to find your local retailer or buy a digital pattern for $14 (approximately £11) at store.closet casepatterns.com
Sew a comfy but chic Zadie dress from Tilly and the Buttons and master raglan sleeves! This beauty has diamond-seam details and swoon-worthy deep pockets. Available in sizes 6-20 at www.shop. tillyandthebuttons.com where it’s £12.50 for the paper pattern or £9.50 for a digital version.
74 pattern picks.indd 75
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25/05/2017 10:58 21/02/2017 14:04
PLEAT can't be BEAT Have you ever made a Y-pleat skirt? Try this in a midi length for a chic summer skirt Project FIONA HESFORD
Shopping list Pooches (SEWN Basics) cotton poplin ÂŁ6 per metre, www.sewnbristol.co.uk
79 skirt.indd 79
FOLDS 1 Create a Y pleat with this easy tutorial. 2 Starting with the centre Y pleats and using the diagram as a guide, fold pleat A to position B, pin with the pinhead extending beyond the fabric. Fold pleat C to meet pleat D and pin, aligning CF markers. 3 Fold over and pin the small side pleats using the diagram as a guide. Tack-stitch along top edge to hold all the pleats. Remove pins.
NOTES: Seam allowance of 1cm is included unless otherwise stated
HOW TO MAKE:
SIZING CHART S (8-10)
FINISHED LENGTH FROM TOP OF WAISTBAND
FINISHED WAIST MEASUREMENT
MATERIALS & TOOLS • 1.7m medium-weight woven fabric • 10cm lightweight fusible interfacing • 18cm concealed zip • co-ordinating thread • templates downloaded from www.lovesewingmag.co.uk
1 Finish raw side edges of skirt and straight edge of pocket with an over locker or zigzag stitch. 2 Assemble the pleat following the masterclass above. Placing pins at the pleat markings can be helpful for matching the creases neatly. (See Pic A.) 3 With the RS facing up, pin one pocket piece to the left side seam of the front with RST, aligning the straight edges and matching the notches. Sew with a 1cm seam and press the pocket away from skirt. On the RS, top-stitch the pocket to the seam allowance roughly 3mm from the seam line. (See Pic B.) Repeat for the back skirt again on the left side seam. 4 Pin skirt front to back with RST at the left side seam, pinning around the pocket.
79 skirt.indd 80
LAYPLAN 112cm with nap, single layer
Line the skirt by cutting a second set of skirt pieces, sewn within the waistband seam. Sew a partial side seam to allow the zip to open
Amy says... Match your waistband seam easily: Sew one side and close the zip. Mark the seam line on the tape in chalk. Use this line as a guide when positioning the second half of your zip! Sew with a 1cm seam and press the seam allowances forward. 5 Fold over and press 1cm on the lower long edge of the waistband. 6 Pin the unfolded long edge of the waistband to the skirt at the top edge, aligning side seam and pleat markers. Tackstitch by hand. Sew a 1cm seam all around and press the seam allowance upwards towards the waistband. 7 Install the concealed zip in the right-hand side seam. We recommend lightly pressing the
coils of the teeth open using your iron and using an invisible zipper foot. (See Pic C.) 8 Continue the seam below the zip end and press the seam open. 9 Fold over and press the waistband, aligning folded edge to previous stitch line. Tuck under the zip end and align the fold of the seam allowance on the zipper tape. Hand-stitch the waistband all around. Press again. (See Pic D.) Hem the lower edge of the skirt to finish your gorgeous new skirt!
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e n i h s r o Rain ABOUT
Kerry Kerry Green is co-author of 500 Quilt Blocks and is a contributor to many other books and magazines. Find sewing tips, free tutorials, patterns and more at Kerryâ€™s blog www. verykerryberry.blogspot.co.uk
June is all about long summer days, glorious skies and, inevitably in the UK, rain showers!
ll these themes and more can be found in Amy Sinibaldiâ€™s delightful Charleston collection for Art Gallery Fabrics including little houses and tumbling brollies! As well as adding basic dot/stripe co-ordinates from Amyâ€™s Les Petits range, Iâ€™ve chosen some linen/cotton blends for textural variety, a pretty printed dress/shirt-weight denim and a richly coloured floral cotton lawn with a smooth, buttery feel. These are all ideal summer dressmaking fabrics, and the scraps could go into a patchwork project. Why not try a traditional block, economy square? The timeless square-in-square design lends itself to a fussy-cut centre to showcase picture prints and the piecing is relatively simple. Rita Hodge, the brilliant quilter from www.redpepperquilts. com has a handy tutorial, ideal for beginners.
Art Gallery Fabrics Les Petits Stipples Rose, ÂŁ3.50 FQ, www.prettyfabrics andtrims.co.uk Swallows print mid-blue denim, ÂŁ10.99 per metre, www.higgsandhiggs.com Robert Kaufman Essex Yarn Dyed in Oyster linen-cotton mix, ÂŁ3.80 per FQ, www.misformake.co.uk Kokka Komorebi linen by Nani Iro, ÂŁ5.35 per FQ, www.misformake.co.uk Art Gallery Fabrics Charleston The Row, ÂŁ3.50 per FQ, www. oliveandflohandcraft.co.uk Art Gallery Fabrics Charleston Rainbrella Mist, ÂŁ3.50 FQ, www. oliveandflohandcraft.co.uk Posy Passion cotton lawn, ÂŁ14.50 per metre, www.guthrie-ghani.co.uk Art Gallery Fabrics Les Petits Strokes Sun, ÂŁ3.50 FQ, www.prettyfabrics andtrims.co.uk
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Stylish summer skirts Make your own selection of skirts for summer and mix and match your wardrobe basics. Wendy Gardiner, Brand Ambassador for The McCall Pattern Company, looks at the most popular styles and shares her top tips
McCallâ€™s 7130 converts to a skirt! ABOUT WENDY GARDINER As well as being Brand Ambassador for The McCall Pattern Company, Wendy is a published author and sewing teacher. Find her online courses at www.craftsy.com
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YOUR PENCIL Butterick 5466
BLIND HEMMING The blind hem foot has a central plastic guide protruding below the foot 1 First neaten the raw edge of the hem allowance then turn up your hem and holding the fold in place, turn back the hem allowance so that approximately 15mm is to the right. Place under the presser foot with the fold butted against the guide on the foot.
A straight skirt is essential in every woman’s wardrobe. You can make your own in just a couple of hours and have a variety in the wardrobe ready for any occasion. Butterick 5466 is a classic, knee skimming design with variations including small waistband or high shaped waist, princess seams or simple waist darts. Choose your skirt size by your hip measurement and adjust at the waist if needed (cutting from one size line to another or taking smaller/larger darts to fit the waist). Use a stable fabric such as gabardine, wool, tweed, double knit, medium weight cotton or linen. Add a lining even if one isn’t included: use the main pattern pieces as templates to cut a lining. This will help the skirt fall smoothly over the hips and prevent excessive creasing. Opt for an invisible zip for classic style or try an exposed zip for a contemporary design feature. You could even include a full-length zip from top to hem.
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Hem allowance turned up 2 Select the blind hem stitch, which has a straight stitch to the right and a zigzag to the left. Most of the stitching is done on the single layer of hem allowance to the right, with regular zigzags going over the guide into the fold on the left. The aim is to just nip into the fold. You can decrease (or increase) how big a zigzag is taken using the stitch width button.
3 Once finished, unfold the hem allowance and press with steam and a press cloth – pressing the stitching but not the edge of the garment, which should be left with a slightly rounded finish.
TWIN NEEDLE SEWING
Use a twin needle to sew a narrow hem for a shop-bought look Thread your twin needle with two lines of thread using a second spool pin or maximising space on your existing spool pin. The gap between the two needles relates to the weight of jersey it is best suited to with a wider gap suiting heavier knits. Turn up a 1cm hem and press. With the RS of the fabric uppermost, sew with a straight stitch (you may need to loosen/lower the tension a little to prevent the fabric bunching between the two rows of stitching). On the reverse you’ll see the bobbin thread has zigzagged between the two upper threads for a neat finish.
Use stretch knit fabric for a quick summer skirt that is easy to make, pack and wear for holidays. McCall's 7130 is perfect for this – it is easy to make, designed for stretch knit fabric, has a wide top that can be worn as a bandana style top or folded down to create a yoke on the A-line skirt for a completely different look. Use a ballpoint or stretch needle to sew stretch fabrics – this will prevent skipped or broken stitching – and use a stretch stitch to sew any horizontal seams that go around the body so the fabric and stitching can stretch as needed to pull the garment on and off. Thankfully, knit fabric rarely frays, but edges may curl. To prevent this, neaten seam allowances with an overlocker, overedge stitch or zigzag stitch and trim close to the stitching.
Float AWAY A lightweight floaty and full skirt is a fabulous addition to the summer wardrobe. If using georgette or voile you can line it with voile, poly/cotton or polyester lining. McCall’s 7197 is a great wrap design and the bodysuit underneath is included! For sheer fabric use a French seam on the side seams of transparent fabric. Stitch with WRONG sides together taking a 1cm seam allowance. Trim seam allowances to a scant 3mm. Turn through and press so the seam is on the very edge. Stitch again with a 6mm seam allowance. Prevent uneven curved hem and reduce bulk by allowing the skirt to hang for 24 hours, then trim the raw edge as needed. To hem, stitch 6mm from the raw edge with a long stitch length of 4-5mm. Press up a narrow hem of 12mm, turning the raw edge inside and slightly gather the stitching to ease in any fullness. Any little gathers should be on the hem allowance only and not visible from the RS.
McCall’s 7197 is a great party piece
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Classes for all abilities including: • Pattern cutting • Bra or corset making • Dressmaking • Private tuition also available Take a look at my website for my wide range of subjects
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The Dressmaker's With Elisalex
nother summer, another bag craze... Last year we all had great big basket bags embellished with brightly coloured pompoms and trim. I took a huge amount of pleasure in exclaiming, “Why yes, I crocheted that mini pompom trim myself!” whenever I got a compliment on mine. Fun and frivolous as that trend was, it definitely had an overwhelmingly crafty feel. This year, with the 80s and 90s firmly on our radar, things are considerably edgier, and that’s A-OK by me.
Whip up a chic bucket bag in contrast leather with this fun tutorial!
Sew strips of suede fringing all around for a dose of rock 'n' roll or adapt the shoulder straps to make a modern backpack!
Bucket bags are where it’s at, but not of the battered boho variety. Think luxuriously soft suede and leather, pastel hues, gold hardware and rock 'n' roll fringe. The best news? A super-slick, high-enddepartment-store-worthy bucket bag is not only easy to make, but my tutorial will provide you with a base design that’s endlessly adaptable and customisable!
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WHAT YOU’LL NEED: • leather hide or faux leather in 2 contrasting colours, plus one lighter weight for lining • packet of brass eyelets (10.5mm) • leather machine needles • stanley knife & cutting mat • metal ruler • pattern paper & pencil • paper-cutting scissors • glue stick • Biro • hammer
HOW TO MAKE:
B PREPARE YOUR TEMPLATES Draw out one rectangle measuring 26x5” and another measuring 26x7¼”. These are the panels that make up the main body of the bag. Please note, all these templates include ½” seam allowance. Draw out a rectangle measuring 9x7” and round the corners so you end up with a sort of squashed circle. This will be the bag’s flat base. Now for the lining, draw out another rectangle measuring 26x11¼”. The together to form the bucket part of the squashed circle template will bag. Remember, we’ll be using ½” also be used to cut the seam allowance throughout. lining’s base. 6 Next, take your two Finally – and this part contrasting shell panels and is optional – make a stitch them together along rectangle measuring the long edge, RST. Use 8x4” for the inside clips to hold the two layers Use quilting, bulldog or pocket. Cut them of leather together instead paper clips to hold the layers all out. of pins. of leather together instead 7 This is where the hammer of pins CUTTING THE comes in! Seeing as we can’t LEATHER press these seams open with an 1 Place the templates iron, we have to literally press and onto the leather and use a Biro to hammer them open! Use the flat end carefully draw around them. Use a metal of the hammer to press and bang those ruler to guide your stanley knife for a perfectly straight cut. C 2 You’ll also need to cut two long strips – one measuring 37x1½” (for the shoulder strap) and one measuring 37x1” (for the drawstring).
ASSEMBLING THE BAG 3 Let’s start by assembling the bag’s lining – that way we can practise working with the leather before we get on with the shell. 4 Place the pocket on the rectangular lining piece and top-stitch into place as close and neatly to the edge as possible You can keep the pocket piece in place with the glue stick. 5 With RST, fold the rectangle lining piece in half and stitch the short ends
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seam allowances open from the WS. 8 Fold the bag shell in half, RST and taking care to match the panel seam, stitch. Press the seam open with the hammer again. (See Pic A.) 9 Take the squashed circle base piece and clip it into place to the bottom opening of the bag, easing out and evenly distributing the slight fullness around the corners. Stitch into place and repeat for the lining. It’s starting to take shape! (See Pic B.) J Now we need to assemble the shoulder strap and the drawstring. Fold in half lengthways, WST and edge-stitch. K Turn the bag shell out to the RS, keep the lining inside out and pop it inside the shell. Start clipping the two layers together along the topline, sandwiching the ends of the shoulder strap at either side. Stitch all around the topline, thereby joining the shell to the lining. (See Pic C.) Reinforce the straps by stitching a little square just below the topline stitching. L Finally, mark out the positioning of the eyelets (mine are spaced 2” apart) and follow the instructions on the packet to set them in. (See Pic D.) You’ll need an even number to facilitate the drawstring. Thread your drawstring through and don't you know it, you're all done!!
ABOUT ELISALEX Elisalex is the head of design and co-founder of By Hand London. An independent pattern company, it produces gorgeously designed, high-quality patterns that are available as PDF downloads through the site www.byhandlondon.com
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This month, we’re taking a closer peek at embroidery machines
BEST FOR CUSTOMISING SINGER FUTURA XL400 This smart machine is designed to help push your embroidery skills to the next level, allowing you to use your home computer screen to customise, combine and personalise your designs. The software includes colour number charts for the different floss brands and there is a wide range of hoop sizes available so you can reduce or enlarge your motifs to suit your project. By working with your home computer you can save money on your machine without losing functionality or design possibilities. There are also 30 stitches included and 125 embroidery designs to create with, providing plenty of creative inspiration.
BEST FOR BUILT-IN PATTERNS BROTHER INNOV-IS 955 The Innovis-955 is a real one-stop machine, combining a menagerie of sewing and embroidery capabilities. Break into the world of machine embroidery, with 120 patterned frame and border variations, six embroidery fonts and a huge 296 embroidery patterns that are provided. The built-in card slot means you can keep adding to your collection of motifs and fonts. Unlike many embroidery machines, this is also a highly accomplished sewing machine with 129 stitches and 10 automatic one-step buttonholes. Ideal for creating and personalising any project!
BEST FOR GADGET LOVERS JANOME MEMORY CRAFT 9900 Intuitive and simple to navigate, the Memory Craft 9900 machine is quite the gadget! It features a high-resolution LCD colour touch screen, USB port, inter-changeable coloured covers and a slim embroidery unit at the back of the machine to maximise space. You can sew up to 1,000 stitches per minute in sewing mode and a whopping 800 in embroidery mode, and there are over 200 built-in stitches to play with, as well as 175 embroidery designs too! With an impressive list of capabilities and in-built step-by-step technique guides, there is a lot to learn but so much you could achieve in your sewing and embroidery.
UND ER £
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FABRIC FABRIC Embroidered PU jacket 1 ÂŁ60 www.jdwilliams.co.uk
tyle Zip up,
Store your essentials in style with our pick of lively cotton prints
Personalise this spring-summer biker jacket with our pick of sturdy yet stylish fabric 3
Fabric shopping Fabric shopping
Primrose Stay Gold cotton by Aneela Hoey for Cloud9 Fabrics, visit www.hantex.co.uk/mystockist for your local retailer Tabby Road Disco Kitty in Strawbery Fields cotton by Tula Pink for Free Spirit, ÂŁ3.75 per fat quarter from www.lovelyjubblyfabrics.co.uk Michael Miller Into the Deep Mermaid Scales Peri cotton, ÂŁ3 per Âź metre, www.thesewingstudio.co.uk Poppy Mum Floret cotton by Leah Duncan for Cloud9 Fabrics, visit www.hantex.co.uk/ Copper Cognac ÂŁ15 per metre www.textileexpressfabrics.co.uk 0.55mm-thick leather skin, ÂŁ17 mystockist forEco yourleatherette, local retailer Pink Fusions Bloom Robert Kaufman cotton, ÂŁ2.75 per Âź metre, www.cottonpatch. Pine Mama square per 5ft www.pittards.com Burgundy leatherette, ÂŁ6 perÂŁ2.75 metreper www.textileexpressfabrics.co.uk co.uk Amy Butler Violette Treasure organic stripe cotton, Âź metre, www.thesewingstudio.co.uk pink 0.7mm-thick leather skin, ÂŁ17 per 5ft square www.pittards.com Spot print mid-blue denim, ÂŁ8.99 per metre www. Shell abakhan.co.uk faux suede, ÂŁ9.80 perpriced metre www.dragonfl yfabrics.co.uk McCall's 7487 Travel Cases bypink Sewsoft Sweetness is available ÂŁ8.75 from www.sewdirect.com www.lovesewingmag.co.uk 93
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PROUD Peacocks are such beautiful birds, their striking colouring and bold patterns lend themselves well to being translated into embroidery! Project & photography CHLOE REDFERN
MATERIALS & TOOLS
HOW TO MAKE:
â€˘ embroidery needle (I favour size 7 â€˘ needlework scissors â€˘ 6â€? embroidery hoop â€˘ 2 7Â˝" or 8â€? fabric squares â€˘ thread â€“ we used DMC 310, 336, 646, 743, 900, 905, 907, 3765, 3842, 3845, 3348 â€˘ a light source & pencil or water-erasable marker â€˘ template downloaded from www.lovesewingmag.co.uk
Begin by tracing the template. Stretch one of the pieces of fabric in your hoop. Place this WS down against the pattern so that the face of the fabric/hoop sits flush with the pattern and place it over a light source. This could be a window, or a light box if you have one. Trace around the pattern, keeping the lines as smooth and fine as you can. Remove the fabric from the hoop and place it pattern side up on top of the other piece of fabric you have cut. Restretch these together in your hoop, with the traced pattern now on the front, making sure it's nice and taut. Stitch over all the outlines you have marked on the fabric using backstitch. I have used two strands of thread for this, so the outline isn't too bulky looking but stands out well.
COLOURS â€˘ body DMC 336 â€˘ eye, beak, head 'tassels' & wings DMC 310 â€˘ outside of 'eyes' on tail DMC 907 â€˘ inner tail 'eye' circle & scalloped shapes each side of body DMC 3845 â€˘ darker blue shape inside tail 'eye' DMC 3842 â€˘ straight lines in centre of wing feathers DMC 3348 â€˘ legs DMC 646
Chloe makes embroidery hoop art, including pet portraits, and creates gorgeous downloadable PDF embroidery patterns. See more of her work at www.chloeredfern.co.uk and www.instagram.com/chloeredfernembroidery
The outline colours used are shown to the left. When you have stitched over all the lines you have marked on the fabric, you can begin to fill in individual areas. I like to use one strand of thread for this for a delicate look, but you can use two if you wish for a bolderlooking embroidery. Make small stitches to fill in the main part of the peacock's body in DMC 3765, and fill in the areas on his face marked by dotted lines in white. Refer to the photograph for stitch direction. Begin filling in the eye shapes on the tail. For the outer part (between the lime green outer shape and the bright turquoise
inner circle), make small stitches in DMC 743, working your way around the inner circle until the area is filled in. Do the same in DMC 3845 inside the turquoise circle (between the turquoise circle and the inner darker blue shape). Fill in the darker shape in the middle with DMC 3842, this time making small stitches in straight lines up the shape â€“ this will make it easier to fill in as it is an odd shape. To fill in the peacock's wings (the area outlined in black on each side of his body), begin by filling in the top and bottom parts with small stitches in DMC 3845. Fill in the second and fourth section with black
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Why not add an embroidered peacock to a garment, quilt or bag?
FRAME Hang the hoop on the wall for all to see! 1 Trim the fabric around the edge of your hoop, leaving approximately 1â€? spare, all the way around. 2 Sew large straight stitches around the edge, ensuring that both ends of the thread come out of the fabric on the same side. 3 Draw the threads together at the back of the embroidery, and tie them together.
4 Remove the outer hoop from the embroidery. Draw around the inside of the hoop onto a piece of felt and cut it out. Replace the hoop on your embroidery. 5 Finally, whip-stitch the felt on the back, passing through the fabric at the edge of the hoop, to secure it in place.
(DMC 310) and the middle section with bright green, DMC 907. At this point you can also fill in the pupil using a group of small straight stitches in black placed close together. Now that most of the areas are outlined and filled in you can begin to add the little fan-shaped stitched detail in the scalloped shapes on each side of the peacock's body. Make small fan-shaped stitch arrangements using longer straight stitches in each little scallop using DMC 3845. Make approximately five stitches in each shape, leaving a gap in between. Next, in each of these gaps, make another stitch using DMC 907 as shown.
I like to use two layers of fabric in my work as this can stop your stitches from showing through at the back
To fill in the little tassel shapes on the peacock's head, make straight stitches from the narrowest point to the widest point using DMC 3765. For this area it is advisable to use just one strand of thread.
To fill in the legs, make straight stitches across them using one strand of DMC 646. Fill in the eye using DMC 900, again making small stitches close together as you did with the pupil to fill in the area. The final step is to add the darker green stitches to the peacock's tail. Think of it as making angled stitches coming from the centre of the feather to halfway across the gap, until you get to the top where you can bring them just part of the way into the space to make a feather shape. Don't worry if you end up stitching and unpicking a little to begin with, you will soon get a feel for the placement of stitches. These green lines are worked in DMC 905.
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Plus much more! Inspiring articles, projects and guides: P Embroidered parrot clock P Simple Sew wiggle skirt P Luxurious lingerie sew-along part 2 P Chinelo Bally top tutorial P Mad for plaid bell-cuff dress P The Brief History of PRYM Tunique trapèze, semi-ajustée ROBES POUR JEUNE FEMME: Semi-fitted, A-line TUNIQUE ET manche. A, B: Galon de ruban. MISSES’ TUNIC AND DRESSES: poitrine, variations d’encolure et de C: Cordon acheté. C: neckline, and sleeve à pinces de tunic and dress have bust darts, latérales. A: Bandes contrastantes. B, C: Side slits. A: A, B, C: Fentes D: Ourlet piqué. variations. A, B: Ribbon trim. A, D: Purchased Perles achetés. C, Y SEÑORAS: Túnica línea A, semiContrast bands C: Purchased cording. TÚNICA Y VESTIDOS PARA JÓVENES A, B: variaciones de escote y de manga. beads. C, D: Stitched hem. C: entallada, con pinzas en el busto, laterales. A: Bandas contrastantes. Ribete de cinta. A, B, C: Aberturas C, D: Dobladillo cosido a máquina. Cordón comprado. D: Cuentas compradas. /M), ZZ(G/G-TG/XG-TTG/XXG) Séries/Combinaciones: Y(TP/XP-P/P-M de coton, Façonné, Toile de lin. Satin TISSUS CONSEILLÉS: Cotonnade, Lino. Combinations: Y(XS-S-M), ZZ(L-XL-XXL) algodón, Satén de algodón, Labrada, Blends, Sateen, Dobby, Linen. TELAS SUGERIDAS: Mezclas de SUGGESTED FABRICS: Cotton TG/XG TTG/XXG G/G M/M P/P TAILLES/TALLAS TP/XP 24-26 XXL 20-22 XL 16-18 L 12-14 M 8-10 S 4-6 XS SIZES 2.00 m 1.90 1.80 1.50 12-14 16-18 20-22 24-26 1.50 8-10 1.50 4-6 115cm*** 1.60 m 2∂ Yds. A 1.60 2 1.40 1π 1.30 1∫ 1.30 1∫ 1.30 1∫ 150cm*** 45"*** A " 1≥ 1≥ 1∞ 1∑ - 1.20m 1∑ 1∑ 60"*** CONTRASTE A - 115, 150cm*** TELA TERMOADHESIVA A, C yds. ENTOILAGE THERMOCOLLANT/ENTRE CONTRAST A - 45", 60"*** - 1≤ 46, 51cm - 1.00m FUSIBLE INTERFACING A, C 2.70 m 2.70 2.70 2.70 2.60 2.60 115cm*** 18", 20" - 1 yd. 2.70 m 2π Yds. B 2.70 2π 2.00 2π 1.90 2π 1.80 2≥ 1.80 2≥ 150cm*** 45"*** B " 2π 2π 2∂ TELA TERMOADHESIVA B 2 1π 1π 60"*** ENTOILAGE THERMOCOLLANT/ENTRE 46, 51cm - 1.30m FUSIBLE INTERFACING B 3.20 m 3.20 3.20 2.70 2.70 2.60 115cm*** 18", 20" - 1∑ yds. 2.40 m 3∞ Yds. C 2.40 3∞ 2.30 3∞ 2.00 2π 2.00 2π 2.00 2≥ 150cm*** 45"*** m C " 3.70 2∫ 3.40 2∫ 3.40 2∞ 3.40 2∂ 3.20 2∂ 3.20 2∂ 115cm*** 60"*** Yds. D 3.40 m 4 3.40 3∫ 3.40 3∫ 3.40 3∫ 2.70 3∞ 2.30 3∞ 150cm*** 45"*** D " 3∫ 3∫ 3∫ TELA TERMOADHESIVA D 3∫ 2π 2∞ 60"*** ENTOILAGE THERMOCOLLANT/ENTRE 46, 51cm - 1.10m FUSIBLE INTERFACING D 4.40m pour B. C: de 1cm ou 1.5cm: 6.00m pour A, 18", 20" - 1∂ yds. 1≤ yds. MERCERIE: A, B: Rubans 6∞ yds. for A, 4≥ yds. for B. C: 1.20m de Cordon. D: Perles achetées. B. C: NOTIONS: A, B: ∑" or ∫" Ribbons: o 1.5cm: 6.00m para A, 4.40m para MERCERÍA: A, B: Cintas de 1cm Cording. D: Purchased Beads. 1.20m de cordón. D: Cuentas compradas. DE LA PRENDA ACABADA MESURES DU VÊTEMENT FINI/MEDIDAS de busto Mesure à la poitrine/Contorno 135 cm 125 115 104 95 90 Ins. A, B, C, D 53 49 45 de caderas Mesure aux hanches/Contorno 149 cm 138 128 118 109 104 B, C, D " 58∞ 54∞ 50∞ Largeur à l’ourlet/Ancho inferior 192 cm 182 171 161 152 147 D " la nuca l’ourlet/Largo de espalda desde Longueur - dos, votre nuque à cm 88 87 85 84 83 81 A 116 cm 115 113 112 110 109 B 102 cm 100 99 98 97 95 C 150 cm 149 147 146 145 143 D Pelillo
NTS FINISHED GARMENT MEASUREME Measurement at bustline 41 37∞ 35∞ A, B, C, D Measurement at hipline 46∞ 43 41 B, C, D Width, lower edge 63∞ 60 58 D Back length from base of neck 33 32∞ 32 A 44 43∞ 43 B 38∞ 38 37∞ C 57∞ 57 56∞ D
34 45 39∞ 58∞
33∞ 44∞ 39 58
34∞ 45∞ 40 59
" " " "
or Without Nap *With Nap **Without Nap ***With
*Avec Sens **Sans Sens ***Avec
Pelillo ***Con o ou Sans Sens *Con Pelillo **Sin
McCall’s 7408 Essential tunics & tops A
Marca Registrada Trademarks Reg. U.S. Pat. & TM Off. All Rights Reserved. Printed in U.S.A. Co., 120 Broadway, New York 10271, purposes. www.mccallpattern.com Copyright© 2016, The McCall Pattern not for commercial or manufacturing interdite. Sold for individual home use only and commerciale ou industrielle strictement Reserve à un usage personnel. Utilisation
Size Y/ZZ Taille (6-26 : XS-XXL) Talla
C D B A S/MEDIDAS DEL CUERPO XXL BODY MEASUREMENTS/MESURE XL L M S XS SIZES 24-26 20-22 16-18 12-14 8-10 4-6 46-48 Ins. 42-44 38-40 29∞-30∞ 31∞-32∞ 34-36 Bust 39-41∞ Ins. 34-37 30-32 26∞-28 24-25 22-23 Waist 48-50 Ins. 44-46 40-42 31∞-32∞ 33∞-34∞ 36-38 Hip 17≥-18 Ins. 15≥-16 16≤-16∞ 16≥-17 17≤-17∞ Back Waist Length 15≤-15∞ TG/XG TTG/XXG G/G M/M P/P TP/XP TAILLES/TALLAS 24-26 20-22 16-18 12-14 8-10 4-6 97-102 107-112 117-122 cm 87-92 80-83 75-77 Poitrine/Busto 99-105 cm 87-94 76-81 67-71 61-64 56-58 Taille/Cintura 102-107 112-117 122-127 cm 92-97 85-88 80-83 Hanches/Caderas Longueur dos/Largo espalda 44-44.5 45-45.5 cm 39-39.5 40-40.5 41.5-42 42.5-43
YELLOW MAGENTA CYAN BLACK
FREE T H E U K ’ S N O .1 S E W I N G M A G A Z I N E
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ISSUE 42 ON SALE 13TH JULY 2017 Bold and bright
WIGGLE SKIRT SIZES 6-22
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COVER-UP y Gardiner Top tips and techniques from Claire-Louise Hardie P Expert guidance from Wend P In-depth articles from Wendy Ward P Clever tutorials from Elisalex de Castro Peake P Couture masterclass with Alison Smith MBE P Behind the scenes with Jade Earley *All contents subject to change.
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THREE of a kind Use stencils to create these quick and easy tote bags with eye-catching motifs Project VICTORIA PEAT Little Black Duck
MATERIALS & TOOLS
HOW TO MAKE:
(to make one 38x30cm bag) • 50cm cotton • fabric paint • freezer paper • 1.8m cord or ribbon • co-ordinating thread • safety pin for threading cord or ribbon • paintbrush or sponge • templates downloaded from www.lovesewingmag.co.uk
1 Take the four cotton rectangles and finish all raw edges using an overlocker, pinking shears or zigzag stitch. 2 Trace your selected motif onto the paper side of freezer paper and cut it out. 3 Position the freezer paper stencil centrally on the RS of one of the large rectangles and iron in place. 4 Place a piece of card under the front of the bag before painting to protect your work surfaces. Paint the motif using a paintbrush or sponge. Leave to dry and apply a second coat if necessary.
CUTTING: FROM COTTON FABRIC, CUT: • 2 38x33cm rectangles • 2 8x33cm rectangles A 0.5cm seam allowance is used throughout unless otherwise specified
If you decide to apply a second layer of fabric paint, check that the template is still stuck down. Use a pressing cloth and iron again if necessary
5 Allow the paint to dry before peeling away the freezer paper template. Follow manufacturer’s instructions and iron the motif if required. 6 To construct the bag, place the two large rectangles RST and sew around three sides, leaving the top open. Press seams open. Turn through to RS.
7 On each of the short edges of the smaller rectangles, turn in a 2.5cm hem. From the RS stitch a hem in place 6mm from the folded edge. 8 Fold each smaller rectangle in half along its length with WST. 9 On each side of the bag, position one of the smaller rectangles, matching the raw edges and leaving approximately 1.25cm at each end. Stitch in place around the top of the bag. From the RS, press the seam allowance downwards, towards the body of the bag. Top-stitch in place 6mm from the folded edge. To insert the cord, cut two 90cm lengths. Attach a safety pin to one end of cord and thread through both channels at the top of the bag, finishing where you started. Even up the raw edges and tie together in a knot. Repeat for the other cord, starting the threading on the opposite side now.
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For more information on local stockists contact 01793 834304 or take a look at our website, also our latest brochure and price list can be downloaded now from;
www.hornfurniture.co.uk As any hobbyist will tell you the most important things you’ll need when sitting for long periods is comfort, good support and most importantly a correct sitting posture. The Horn HOBBY CHAIR offers all these and more, it features a 3 lever mechanism, this gives precise adjustment of your seating position by allowing you not only to change the height of the chair but the rake, seat tilt and back height positions...just like a luxury car seat. The Horn HOBBY CHAIR also offers a sculptured, deep, luxuriously padded seat and back with an approved contoured lumbar support to fit perfectly into your body. It can be quickly raised or lowered to your desired position by means of a gas elevator and is fitted with a smaller castor base to allow you to fit easily into your sewing cabinet. To finish off the perfect chair you have three hard wearing fabrics to choose from and now our special ‘Limited Edition’ fun sewing canvas fabric as well! It’s the perfect chair to finish off your perfect sewing room!
“The best seat in the house”
ED S R DO
The Horn Hobby Chair
Need comfort to create? Whether you’re a Sewer or Quilter...
We’ve got it covered! Now available in a fun sewing canvas fabric!
R. QUINN, MCSP, Reg.Mem. HPC, Mem.IEHF and ACPOHE
". . . working in partnership to address seating and back issues and provide positive preventative and corrective solutions."
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£225 + P&P The perfect chair to finish of your perfect sewing room!
Horn Crafting… Quilting… Sewing Furniture
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(Pease note: The sewing machine and accessories are not included)
Go ahead… MC15000
The incredible Memory Craft 15000v2 incorporates all the best features for sewing, embroidery, quilting and craftwork and has the largest work area of any equivalent model available. It’s the first machine of its kind to have Wi Fi, the first to work with an iPad and the first to have its own Apps!
get creative! Add a decorative touch of beautiful embroidery to fit your lifestyle The world of Janome professional style embroidery brings amazing tools to your creative talents. Janome embroidery machines utilise intuitive technologies.
This long arm combined sewing and embroidery machine has many of the features found on our top of the line Memory Craft 15000 for sewing, embroidery, quilting and craftwork.
The Memory Craft 9900 is a combined sewing and embroidery machine. It offers lots of powerful features for sewing as well as professional-style embroidery at home. It also has 3 inter-changeable coloured panels to personalise your machine.
The Memory Craft 500E is a dedicated embroidery only machine and offers professional-style embroidery at home, capable of designs up to 200 x 280mm. It’s easy to embellish garments, furnishings and accessories.
For limitless embroidery possibilities optional embroidery design software is available which can convert artwork into stitches and stitches into works of art.
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4728 - [Ad 220x300] Embroidery Range 2016.indd 1