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FRESH
RIC
ISSUE FORTY SIX
EXCLUSIVE BOHO DRESS IN SIZES 6-20 6 new LooKs to try TodAy!
STITCH IT! 1950s skirt Cami hack Snuggly bear
Feel-good fashion to sew for everyday wear HOW TO: Tropical purse Tulle petticoat Hexie cushion Circle bag Dog bow tie
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FRESH IDEAS WITH FABRIC We don’t know about you, but with the jampacked summer we’ve just had, we’re in much need of a little R&R, which of course for us means spending some quality time with our sewing machines. This month’s cool and casual Aisling Dress (p34) is a delight to sew and our go-to for laid-back lunches and summer fetes, while the boho-style Tamsyn top with its long sleeves and sweet tassel details will effortlessly take our me-made wardrobes from one season into the next. And if that R&R just sounds too tempting, we’ve got a beautiful home spa set for you to stitch up as well, which includes a chic bathrobe and kimono slippers, so you can kick back in style with a herbal tea in hand and your favourite sewing magazine. Hooray!
end r t dy o e an n b k s a M cle cro 57 cir bag, p ISSUE FORTY SIX
FRESH IDEAS WITH FABRIC
CONTENTS
Go b Aislinogho ith he Dress, p 34
P20 BATHROOM UPDATES
grEat pAtterNs foR you
how To...
20 LUXURIOUS BATHROOM MAKES
55 EMBROIDERY: TROPICAL PURSE
34 PATTERN: THE AISLING DRESS
Learn roumanian stitch and make
38 PATTERNLESS FIFTIES SKIRT
a botanical-motif purse
42 CAMI TOP PATTERN HACK
77 WORKSHOP: FILLED SHAPES
50 PATTERN: THE TAMSYN TOP
Learn the technique and make
53 TRANSFORM: FLORAL PANEL TEE
seaside-themed shapes
57 BAG-MAKING: CIRCLE BAG
91 SEWING GUIDE
65 NOTEBOOK COVER
Tips, techniques and
67 HEXIE CUSHION
a glossary
71 CAKE TIN CARRIER 73 FLORAL QUILT 81 TEDDY BEAR TOY 87 FAST FAT QUARTER: KIDS' BAG 89 QUICK FIX: DOG BOW TIE
46
how to Fill Your WarDrobe With anDmade CloThes you Love
Make cute ko rnaments frgec ur bathrom, py 20
67
tiMe ouT
73 53 to win! Four DayLight SliMline LamPs, WorTh £500! Your chance to win one of four Daylight yg Company Slimline LED able Lamps.
Turn to p17
What's the biggest challenge as a sewist? Finding thee time to stitch! Household chores, nine-to-fives, familyy and friends (and all the distractions in between), ensure we don't clock up anywhere near the sewing hours we would like. And we all know how beneficial an hour or two spent at our machines can be. So, we're making a pledge (and you can too) to carve out far more time in our schedules for stitching. Whether you use it to make yourself an Aisling Dress (p34) or a chic spa set (p20), that's totally up to you!
Nikki Morgan, Acting Editor
42
goOd readS & ideaS 9 PINBOARD: Ideas, events, new fabric 15 SEWING QUARTER: ADJUSTOFORM 17 WIN: DAYLIGHT SLIMLINE LED TABLE LAMPS WORTH £500
0
Plus Qu Ck Make
£50
y Pn Com on! ght be w Daa L Z s to ri
SeaS de ShaPes
FRES IDE
FABRIC
ISSUE FO TY IX
244 THINGS TO SEW
SIVE
DRESS S 6-20 new LooKs o try TodAy!
Feel HOW TO: Tropical p
Dog bow tie
GREAT SUBS OFFERS! P18 SAVE TIME, MONEY AND HASSLE WITH AN ANNUAL SUBSCRIPTION
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* PAPER GIFTS ONLY AVAILABLE ON UK NEWSSTAND
46 FEATURE: SEW FOR YOUR STYLE 60 PROFILE: KAREN LEWIS 97 COMING UP NEXT MONTH 98 MY FAVOURITE THING
CONTRIBUTORS A round of applause for this clever bunch...
FRESH IDEAS WITH FABRIC
ACTING EDITOR Nikki Morgan SENIOR ART EDITOR Lisa Jones TECHNICAL EDITOR Roisin McKenna PRODUCTION EDITOR Michelle Grady DIGITAL EDITOR Zoe Williams PHOTOGRAPHY Philip Sowels, Dave Caudery and Jesse Wild
Call 0117 300 8206 SENIOR ADVERTISING MANAGER Penny Stokes SENIOR SALES EXECUTIVE Tiffany Jackson CLIENT PARTNERSHIP MANAGER Beckie Pring
r passion fo!” y m g in r g a in “Sh so reward sewing is
“I can’t remember not sewing, and yes I do need more fabric!”
SUBSCRIPTIONS DIRECTOR Jacky Perales Morris DIRECT MARKETING EXECUTIVE Lily Nguyen HEAD OF NEWSTRADE MARKETING Natalie Shearer NEWSTRADE MARKETING MANAGER Robert Brock
Paul Torre, Karen Flannigan
JENNIFER MILLS
JESSICA ENTWISTLE
Designer Jennifer has loved sewing since she made her irst dress aged 12. She went on to do an appreticeship and study Fashion Design, and now teaches sewing. Go retro with her selfdrafted skirt and petticoat set on page 38.
Jessica runs her own craft business creating everything from hair slides and brooches to bunting and quilts, and is a regular guest designer on Sewing Quarter. Sew her spa-inspired bathroom accessories set on page 20.
U JUNIOR PRODUCTION COORDINATOR Lily Owens Crossman PRODUCTION MANAGER Sîan Rodgers / Emma McGuinness PRODUCTION DIRECTOR Sarah Powell
DIRECTOR OF INTERNATIONAL LICENSING & SYNDICATION MANAGER Tim Hudson tim.hudson@immediate.co.uk INTERNATIONAL PARTNERS MANAGER Anna Brown anna.brown@immediate.co.uk
PUBLISHER Liz Taylor CHIEF EXECUTIVE OFFICER Tom Bureau GROUP MANAGING DIRECTOR Andrew Gabriel MANAGING DIRECTOR, BRISTOL Andy Marshall
FRONTLINE Call +44 (0)1733 555161
BY WILLIAM GIBBONS
“We want to inspire a younger generation to start crafting.”
“I love fashion histor – especially wartime clothiyng .”
THE NEW CRAFT HOUSE
ROISIN MCKENNA
Hannah and Rosie set up The New Craft House in 2013 after struggling to ind fresh and exciting craft products, and now bring traditional crafts up to date with their contemporary kits. Make their adorable quick-sew dog bow tie on page 89.
Simply Sewing technical editor Roisin loves every part of the making process, from sketching to sewing the inal design, and enjoys working with luxury fabrics such as silk and chifon. Try her cami pattern hack on page 42, with two styles to sew.
EDITORIAL TEAM simplysewing@immediate.co.uk SUBSCRIPTIONS TEAM simplysewing@buysubscriptions.com 03330 162 149
THURSDAY 6TH SEPTEMBER 2018 No gift included? Ask your newsagent. Covergift may be unavailable overseas.
OTHER CONTRIBUTORS Anna Alicia, Amanda Brown, Hannah Brown, Jo Carter, Carolyn Denham, Jessica Entwistle, Sarah Dawson, The Fold Line, Sarah Gane, Debbie von Grabler-Crozier, Rosie Drake Knight, Mollie Johanson, Karen Lewis, Zoë Patching, Sonya Philip, Emmanuelle Prompt, Trine Schroede, Jessica Waldegar, Marilla Walker Special thanks to: Annelise Brant
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IDEAS
INSPIRATION
ACCESSORIES
WEBSITES
EVENTS
STUFF
SUMMER LOVING Bows and buttons and frills, oh my! Tilly And The Buttons’ two new swoon-worthy styles are all about pretty details that are as fun to stitch as they are to show off to your sewing pals. The Seren Dress is a flirty button-up frock with the option to make it as a dress or separates, while the Stevie tunic and top is a simple, speedy make with a sweet tie fastening and cuffs – and we’ll be stitching them both. £12 each, shop.tillyandthebuttons.com
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DECISIONS, DECISIONS Update your pin W
collection with this rainbow-hued little helper for crafting procrastinators (that’s us!). Just spin its tiny golden arrow and let it decide whether it’s time for a relaxing cup of tea, a scroll through Instagram for stitching ideas, a sewing session, or (our personal fave) a fabric-shopping excursion. Thankfully, ‘tidy up your sewing room’ isn’t one of the options included! £8.50 from www. ficklecraftroom.com
That’s a Wrap Try a no-plastic way of keeping your snacks under wraps with Lily Bee’s washable 100% cotton cloths coated in beeswax, tree resin and organic coconut oil. Just use the warmth of your hands to secure it around your treat of choice for a plastic-free packed lunch. From approx £4, www.lilybeewrap.com
BEST OF THREE Most sewing patterns feature a couple of different styles to stitch, but this design from Amy Nicole Studio goes one better (or should that be three?). Her Roksi Trio pattern includes three options and endless outfit possibilities: its swingy crop top, tank and dress are all reversible and can be worn together for a layered look, so you can play with colour-blocking and print-clashing. Approx £10, www.amynicolestudio.com
ROYAL TREATMENT Liberty reigns supreme when it comes to beautiful fabrics, so it’s apt that it has paid homage to a royal residence for its new autumn/winter 2018 collection, now available at Alice Caroline. A Palace Garden is inspired by the history of Eltham Palace, a former royal residence in South East London dating back to the 14th Century, which was given an Art Deco update by its new owners in the 1930s. Liberty celebrates the house’s mix of styles and influences in its collection, combining traditional English symbolism and Art Deco for a vibrant and unique set of prints for your autumn-winter projects. See more at www.alicecaroline.co.uk
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Add a royal flourish to your fabric stash with Liberty's A Palace Garden prints.
Pinboard
TEXTILE FOLK ART Anne Kelly (£22.99, Batsford) Anne Kelly explores the traditional motifs used in textile folk art and shows how contemporary textile artists use these in their work today, with everything from handmade momentoes and souvenirs created in the UK and USA , to Scandinavian art and Miao folklore from China. Make your own pieces with Anne's inspiring step-bystep projects. www.pavilionbooks.com
mini profile ROSIE DRAKE-KNIGHT Functionality and fashion don’t always go hand in hand, but they work together in perfect harmony for Rosie Drake-Knight’s beautiful handmade bags. Combining classic shapes, contemporary details and practical design, Rosie’s collection of totes, purses, bucket bags, cross-body styles and handprinted pouches are a joy to carry every day. Rosie experimented with decorative leather work during her final year of studying textile design at Falmouth University, but launching a business wasn't always part of her plan. “It was only when I started out in the real world that I realised I wanted to find a use for the decorative pieces I was creating, so I started to construct bags and pouches and things have developed from there.” Her bags and pouches are “designed for function and longevity” and are all made in-house. “I run my business from my home workshop, where I screen-print and construct my pieces from leather sourced in the UK. I have a ready-to-wear line, which is updated every six to eight months, and I also offer a bespoke design service.” Achieving a natural look and finish with her pieces is important to Rosie. “I love organic pattern and texture and I see it in anything.” This is especially true for her hand-painted bags. “From hailstones to railings, or whatever simple shapes come out of the end of my paintbrush – I draw it, paint it or print it to begin my design process. My new collections
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tend to be ignited by the love for a certain colour palette, and then I build my patterns and products around that.” Although picking a favourite from Rosie’s collection isn’t an easy task, the bucket bag is on our wish list – and it seems that this staple design is on everyone else’s, too. “They are my bestsellers. I'm constantly surprised by this, but I think the versatility of them makes them an investment piece. They can be worn day and night and are the perfect size for all your essentials. I've also introduced an additional colourway as they are so popular!” Rosie has recently welcomed a new arrival to her family, which has made for a busy few months of preparation. “I've worked hard to build up enough stock of my main line to last me through the summer. It has helped me to realise a number of things! I enjoy bespoke commissions more than I realised. I think it is the challenge and variety of custom work that drives me most, and I'd love to work on this more in the future." A bespoke handbag to match our me-made frocks? Yes, please! See more at www.rosiedrake-knight.com
"My new collections tend to be ignited by the love for a certain colour palette."
DIARY IN STITCHES Minki Kim (£21.99, C&T Publishing) Transform your doodles into stitching with this charming book by Minki Kim, with 65 motifs from her own sketchbook to get you started and six fun projects to make to showcase your stitched pieces, including a patchwork pouch and wall hanging. It's the perfect excuse to get out your sketchbook – and your sewing machine! www.ctpub.com
WABI-SABI SEWING Karen Lewis (£15.99, F+W Media) Modern quilter Karen Lewis takes a wabi-sabi approach to sewing with this book of 20 projects that celebrate imperfections and simplicity, including quilts, sashiko embroidery and more. Psst! Read our interview with Karen on page 60, and make a hexagon cushion from the book on page 67. www.sewandso.co.uk
SEWING LUNA LAPIN'S FRIENDS Sarah Peel (£15.99, SewandSo) Make a menagerie of friends for Luna Lapin with this collection of patterns for four of Luna’s best friends: Clementine the Cat, Reynard the Fox, Freddie the Badger and Wilhelmina the Wood Mouse. Of course, they all are accompanied by adorable garments to sew in miniature for adding the finishing touch to your cute characters. www.sewandso.co.uk
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Pinboard SUPERSTRAPS We're on a mission W
to fill our wardrobes with beautiful memades – and that includes handbags! From totes to purses, mini backpacks to this issue's on-trend circle bag (p57), there are so many styles to stitch, and so much fun hardware to buy to give our bags that professional finish. The faux leather strap on our circle bag is adjustable, comes complete with a silver buckle, rivets, D-rings and trigger hooks, and is available in ten covetable shades to match your chosen fabric. £9.57 each, www.u-handbag.com
FreSh AngLes Japanese-inspired lines elevate Merchant & Mills’ simple new cami pattern, The Gyo, into something special. This versatile staple-with-a-twist has angled straps and a minimal shape, and can be made as a top or a dress. Change the look by switching the fabric you use – a crisp material will create a boxy, sculptural style, while a drapey fabric will give you a softer silhouette. £14.50, www.merchantandmills.com
3 of the best SPOT ON Go bold with jumbo spots in rose and olive hues. Who says pink and green should never be seen? 1. We don't mind the evenings getting cooler if we can snuggle up in a blanket as stylish as this (until then, we'll be showing it off at the park). £109, www.amara.com 2. These large-scale spots are block-printed on supersoft 100% cotton in Jaipur, ready for us to sew up into statement dresses, blouses and more. £10 per metre from www.merchantandmills.com 3. Mirror, mirror on the wall, you are the fairest of them all! Tick off three trends with this mirror's circle shape, luxurious gold detailing and painterly spot motif. £49.50 from www.oliverbonas.com
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ARTISANMADE Discover the colour and craftsmanship of Vietnam with Tamay & Me’s beautiful handmade jackets, which showcase the skills of the Red Dzao and the Black Tay. They're made from a traditional zerowaste pattern, beautiful indigo fabrics, and vintage embroideries that support low-income families from villages in Northern Vietnam. Wear one over your summer frocks now, layer up with longsleeved tees next season, and keep it in your wardrobe for many years to come. From £85, www.tamayandme.com
Pinboard Terracotta It's the colour of the summer – and the autumn! Enjoy these finds this season and the next.
CUTE AS A BUTTON Don’t be fooled by its name – Closet Case Files’ new Fiona Sundress isn't just for your summer hols. Fiona’s mix-and-match details include a midi or below-knee skirt, cross-over straps, two bodices and a button fastening. Make yours work for all seasons by wearing over a cosy knit when the weather turns cooler. Visit store.closetcasepatterns.com
moDel bEhaviouR One of the joys of sewing is that we can create bespoke garments that fit us perfectly, so why can’t our fashion illustrations be the same? Cue web app MyBodyModel, which is on a mission to upgrade all of our fashion templates (aka croquis) to our specific body shape! Simply upload your measurements and download your body model in JPEG and PDF formats to print out, or import it into illustration software to sketch digitally. Visit app.mybodymodel.com
DREAMY DOTS This breezy double gauze is dotted with a constellation of golden spots. Swoon! £16 per metre, www.atelierbrunette.com HIT THE BULLSEYE Beach day, park picnic, garden hang-out – do al fresco lounging in style with this supersize stripe towel. £62, www. amara.com
out & about
SKILLS, SHOWS & EVENTS UNTIL 24 AUGUST Swansea Festival of Stitch. A celebration of all things stitch with workshops, taster sessions and a textile market. www.swanseafestivalofstitch.co.uk
LEAF IT OUT Fill up this retro enamel cup with your fave beverage, a bouquet of bright blooms, stationery – anything goes! £12.95 from www. cuckooland.com
1 SEPTEMBER-12 JANUARY 2019
ORANGE CRUSH You can never have too many throws, especially when they're as cosy as this hand-loomed geometric design. Approx £226, www. jonathanadler.com
Liberty Art Fabrics & Fashion. Dovecote Studios, Edinburgh. A major retrospective of Liberty design with over 100 garments and fabrics. www.dovecotstudios.com
1-2 SEPTEMBER Cork Craft Show. Cork International Hotel. A weekend event showcasing the best in Irish craft, including pottery, art, furniture, glass and textiles. www.corkcraftshow.com
27-30 SEPTEMBER
Sketch your ideas with MyBodyModel's madeto-measure croquis.
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The Creative Craft Show. Westpoint Centre, Exeter. Find inspiration, learn new skills and stock up on creative supplies at this show for knitters, stitchers, hobbyists and crafters. www.stitchandhobby.co.uk
CALLING CARD Keep buttons, bobbins and other notions neat and tidy in this handmade box. £19 from www.cambridge imprint.co.uk
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Fabric n ws FanCy FloRals W FANCIFUL BY RAE HOEKSTRA FOR CLOUD9 FABRICS
Ananas: Aqua
Ocean Floret: Breeze
Kelp: Sunshine
Whimsical, detailed florals dance across backdrops of dusty pink, golden yellow and brick red in this lively collection. Printed on 100% cotton, the dainty designs are perfect for home projects and quilts – mix and match them for an eclectic vibe. www. cloud9fabrics.com
UndErWatEr Love SIRENA BY JESSICA SWIFT FOR ART GALLERY FABRICS Dive into the fantasy world of the mermaids Aquamarina and Violette and swim amongst friendly sharks, dancing octopi, bright corals, and exotic fruits and leaves gathered from the ocean's surface. Pick a classic marine palette with the sparkling blues of the Aquarmarina colourway, or Violette's punchy orange, mauve and pink combo. www.artgalleryfabrics.com
Graceful Bouquet: Fondant
Coquille Damask: Coral
Pocket full of Posies: Pink
Dancing Petals: Gold
LAVISH LIVING DECADENCE BY KATARINA ROCCELLA FOR ART GALLERY FABRICS Fans of subtle prints needs not apply – these fabrics by Katarina Roccella are as extravagant as they come. Inspired by 18th-Century Rococo design, expect deluxe florals, opulent plaids and bold brocades in suitably luxurious jewel shades. www.artgalleryfabrics.com
SUNDAE SEWING LEMONADE SUNDAE BY LEONIE BATEMAN FOR PENNY ROSE FABRICS Life isn't all hearts and flowers – but this delightful collection of charming, candycoloured designs by Leonie Bateman is! With budding blooms, ditsy dots, dainty florals and romantic hearts on the menu, you won't be able to resist treating yourself to something sweet (and calorie-free!) from Lemonade Sundae's selection – or even choose a few designs for a pick-and-mix project in pastel shades of yellow, pink, green and blue. They're printed on versatile 100% cotton, so are great stash-boosters to keep on hand when you fancy prettying up your to-sew list. Make the most of the prints' timeless, vintage feel with classic makes – think a bright heirloom quilt, country kitchen accessories, kids' clothing, or even a swishy retro dress or two for your own me-made wardrobe. www.rileyblakedesigns.com
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Main: Cream
Cogwheel Floral: Yellow
Small Floral: Blue
£10 VOUCHER WITH YOUR FIRST PURCHASE AT SEWING QUARTER*
Sewing Quarter is the only channel dedicated to all things sewing. Watch it live on Freeview channel 73 and Sky channel 687, and buy online at www.sewingquarter.com PIN KEEPER The adjustable neck includes a handy built-in pincushion.
PRO FABRIC Covered in a foam-backed nylon fabric for easy pinning.
CUSTOM SIZING Has an eight-part body with 12 thumb wheels for fit adjustments.
The pErfecT fit
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chieving a professional finish with your me-made garments is as much about the fit as it is about the sewing – the trouble is, we don’t always have a fitting buddy on hand to measure us! So we wouldn’t be without a dressform to help us to tailor our makes perfectly. We’re fans of the Adjustoform Supa Fit Deluxe, available in four size options. With 12 adjusting wheels and a tripod stand with height adjustment and a chalk hem marker, it’s ideal for alterations, hacks, hemming, and even creating our own made-to-measure designs.
TRIPOD STAND Features a sturdy metal stand with a chalk hem marker.
Adjustoform available from www.sewing quarter.com in a range of sizes and model types, with prices starting from £139.99.
LIVE everyday 8am - 1pm · FREEVIEW CHANNEL 73 · SKY CHANNEL 687 · www.sewingquarter.com * Terms & Conditions: You will receive a FREE £10 Voucher with your first order at Sewing Quarter when you enter code SS10V at the checkout. There is no minimum spend required. Your voucher will be automatically added to your order when you purchase any web or auction product for the first time at Sewing Quarter via www.sewingquarter.com. This offer is valid from 9th August 2018 until the 30th September 2018. Only one use per customer. All offers are subject to availability. For full terms & conditions, please visit Sewing Quarter website, www.sewingquarter.com.
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e’re always looking for ways to lighten and brighten our sewing space – especially if it enables us to spend longer at our machines – so when we found the perfect tool for the task, which does a stellar job and looks great, we just had to share it with you. Made from beautiful brushed chrome, Daylight Company’s powerful Slimline LED Table Lamp features an easy-to-use clamp system and two unique flex points, so you can manipulate the light to shine exactly where you need it, because,
let’s face it, the tiny bulbs on our sewing machines are never enough! The long arm reach gives wide, even light coverage, which is ideal for large work surfaces (yep, you can cut patterns to your heart’s content, day or night) and the clever light source helps to reduce eye strain and glare too – genius! We’ve got four Slimline LED Lamps to give away, worth £125 each. For your chance to win enter at www.simplysewingmag.com, and visit www.daylightcompany.co.uk to see the full Daylight Company range.
See www.simplysewingmag.com to enter today! (Delivery to UK only, see competition rules on p6.)
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bathroom makes
luxury bathing Give your bathroom a spa-inspired makeover with set of pampering accessories in tranquil blue tones. Designer: JESSICA ENTWISTLE Styling: LISA JONES Photography: DAVE CAUDERY
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GecKo DecOrAtiOns Dreaming of exotic coastlines, palm trees and hot water spas? These friendly little gecko decorations are guaranteed to bring a few luxury-resort-vibes to your bathroom. Unlike the real thing, these little lizards aren't going to scamper off! Make and display in your own tropical haven, right here at home.
StoRage Pods Keeping sponges and flannels at arms reach is essential for hassle-free bathing. These handy storage pods are designed for slinging over door handles, hooks and towel rails, so you'll never be without all your bathing essentials. What's best, they keep all your bits and bobs out of the way for easy bathroom cleaning, too. Pretty and practical!
bathroom makes
SliPpers The best thing about visiting a spa resort is being able to spend a whole day legitimately wearing a bathrobe and slippers, right? So comfortable. These soft slip-ons are all the luxury you need to protect your manicure from chipping, without the hefty price tag.
PatChWork mat Make the most of these Mediterranean-inspired fabric prints and add a splash of colour (not soap suds) to your bathroom floor with this beautiful patchwork mat. Washable, breathable and soft underfoot – it's goodbye slippy tiles, hello luxury bathroom mat!
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bathroom makes
WasHbag From poolside to shower, bathroom to beach lounger, we always have heaps of cosmetics that need to be carried with us. This easy-to-sew washbag is the perfect project to whip up in an afternoon. Sewn in a pair of cooling ocean blue fabrics, it'll keep those tranquil holiday vibes going all year round.
BatHrobe Not strictly reserved for the bathroom, this luxury robe with kimono-style sleeves, contrast trim and tie waist is going to be the most comfortable garment you've ever made. Trust us. You'll be wearing it as a beach cover-up and showing it off to your friends in no time! This beauty is too pretty to keep hidden away at home.
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Bathrobe YOU WILL NEED Q Main fabric: 150x112cm (60x44in), see notes for sizing Q Contrast fabric: 60x112cm (24x44in), see notes for sizing Q Basic sewing kit Q Matching thread
CUTTING OUT Step one From the main fabric cut: Back robe piece: cut one 97x52cm (381⁄8x20½in). Front robe pieces: cut two 97x26cm (381⁄8x10¼in). Sleeves: cut two 52x35cm (20½x13¾in). Step two From the contrast fabric cut: Waist tie: cut two 12x12cm (4¾x4¾in). Contrast trim: cut two 12x112cm (4¾x44in). Cuffs: cut two 12x52cm (4¾x20½in).
Repeat for the other front robe piece to the 45cm (17¾in) point, remembering to treat the second piece as a mirror-image of the first so the cut line will be on the opposite side. 01 Step five Pin front robe pieces to back robe piece RS facing, lining up the long edges and 9.5cm (3¾in) neck points. Sew together along shoulder and side seams. Finish raw edges, press open. 02
PREPARING THE SLEEVES FABRICS USED The fabrics are from the Mediterraneo collection by Katarina Roccella for Art Gallery Fabrics. For stockists visit www.hantex.com Main fabric: Lantana Teal. Ref: AGFMED22600. Contrast fabric: Spectrum Solids, Deep Orchid. Ref: 2000/P78. NOTES Q Use a 1cm (3⁄8in) seam allowance. Q The fabric needed depends on the size and the length of your robe. Q Our robe is made to a UK 10 with a hip measurement of 94cm (37in). We added 10cm (4in) for comfort and seam allowance. The contrast trim adds a further 8cm (3in).
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PREPARING THE ROBE FRONT AND BACK Step one Measure around your neck to find your quarter neck measurement. Ours is 38cm (15in), and a quarter is 9.5cm (3¾in). Step two Fold the back robe piece in half right sides (RS) together along the width. Mark 4cm (15⁄8in) down from the top edge on the fold. Then mark your quarter neck measurement along the top raw edge. Draw a smooth curve for the back of the neck and cut away. Step three For both of the front robe pieces, measure along the top short edge and make a mark at the point of your quarter neck measurement. If your fabric has a directional print, make sure the marked points mirror each other. Step four Mark 45cm (17¾in) down from the top edge, along the long inner edge, and using a long ruler connect this mark to the mark along the top short edge at your quarter neck measurement.
Step one Fold the contrast cuff fabric in half widthways wrong sides (WS) together and press. Step two Open out the fold and sew the cuff strip to one of the main fabric sleeve pieces along one long edge with RS facing. Trim and then press the seam towards the contrast fabric. Step three Along the unsewn long edge of the cuff, fold the raw edge to the WS by 1cm (3⁄8in) and then press. 03 Step four Pin the sleeve to the robe front and back pieces with RS together, matching the shoulder seam with the central marked point on the sleeve and aligning the long raw edges. Sew the sleeve into place. 04 Step five Repeat for the second sleeve. If your fabric print is directional make sure you sew the contrast fabric trim to the opposite end of the first sleeve so that the pattern runs in the same direction. Press the sleeve seams flat.
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ASSEMBLING THE ROBE
FINISHING OFF
Step one Lay the robe out flat with the front and back RS together and the sleeves folded in half, aligning all raw edges. Pin in place and then sew from the sleeve cuff along the sleeve towards the underarm. Pivot at the seam where the sleeve joins the robe and sew down to the bottom of the robe. Repeat on the other side of the robe. 05 Step two Finish the side seam with an overlocker, pinking shears or a zigzag stitch and press open. Step three Turn the robe RS out. Refold the contrast trim for both sleeves WS together to encase the raw edges. Pin the cuff in place, then topstitch to close. 06
Step one Fold the bottom edge of the robe to the WS by 2.5cm (1in) and press. Step two Fold the pressed raw edge of the fabric over again to meet the raw bottom edge. This will create a hem 1.25cm (½in) wide. Press to secure and then stitch in place. Step three Sew the waist tie pieces together at the short ends, then press the seam open and cut the tie to 200cm (79in) long. Step four Fold the long edges RS together and press. Pin then sew along one short edge and along the 200cm (79in) length. 08 Step five Clip edges then turn RS out. Tuck the raw edges in and press. Topstitch all the way around to finish the robe tie.
ADDING THE CONTRAST TRIM Step one Sew the two contrast trim pieces together along two of the short edges. Press the seam open. Step two With RS together, align the centre seam of the contrast band with the centre of the back robe neckline. Pin in place along both sides of the robe aligning the long raw edges. 07 Step three Stitch the trim in place and press the seam towards the unsewn edge of the trim. Step four Fold the outer unsewn edge of the trim over to the WS by 1cm (3⁄8in) and press. Step five Fold this edge over to enclose the exposed seam and topstitch in place.
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TIP: r bathrobe
cosie a e k hoose a c , s h To m t n mo r e t n i e, w fl e f h a t w r , o y f terr n o t t o c ven e soft r o , e c ee velour, fl cashmere! s luxuriou WWW.SIMPLYSEWINGMAG.COM 27
bathroom makes Slippers
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YOU WILL NEED Q Main fabric: 40x60cm (16x24in) Q Lining fabric: 55x60cm (22x24in) Q Iron-on fleece interfacing: 55x60cm (22x24in) Q Faux suede: 30x30cm (12x12in) Q Matching thread Q Basic sewing kit FABRICS USED The fabrics are from the Mediterraneo collection by Katarina Roccella for Art Gallery Fabrics. For stockists visit www.hantex.com Main fabric: Herculaneum. Ref: AGFMED22607. Lining fabric: Shell Blaze Night. Ref: AGFMED22611. Iron-on fleece interfacing: For stockists visit www.vlieseline.com NOTES Q Use a 1cm (3⁄8in) seam allowance. Q Our slippers fit UK women’s size 6/7. Make your slippers larger or smaller by increasing or decreasing the seam allowance, e.g. 1.5cm (5⁄8in) seam allowance for UK women’s size 4/5. Q Download the templates from www. simplysewingmag.com/downloads
CUTTING OUT Step one Download, print and cut out the templates for the slipper top and sole. Step two From the main fabric cut: Slipper top: cut two on fold using template. Step three From the lining fabric cut: Slipper top lining: cut two on fold using template. Slipper sole lining: cut two using template. Step four: From the faux suede cut: Slipper sole: cut two using template. Step five: From the iron-on fleece interfacing cut: Slipper top interfacing: 40x60cm (15¾x235⁄8in). Sole interfacing: 15x60cm (6x235⁄8in).
MAKING THE SLIPPER TOPS Step one Press the iron-on fleece interfacing to the wrong side (WS) of the main fabric slipper top. Step two Sew along the dart marks on the two slipper top pieces. Trim off the excess dart fabric and press the seam open. Repeat for the two slipper lining pieces. Step three Pin one of the slipper top pieces right sides (RS) together with one of the slipper top lining pieces, matching all darts as you pin. Repeat to attach the second slipper top piece and slipper top lining pieces. Step four Stitch along the inner curved edge, making sure the dart seams line up. 01 Step five Trim off the excess seam allowance and turn the slipper top over so the WS meet.
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Smooth out the sewn curve and press. Step six Pin the outer and lining together at the base and around the curved toe area, making sure the raw edges meet all the way around. Staystitch together to hold. Step seven Repeat for the second slipper top and slipper lining piece.
ASSEMBLING THE SLIPPERS Step one Press the sole interfacing pieces to the WS of both of the slipper sole lining pieces. Step two Pin one of the assembled slipper tops to one of the slipper sole lining pieces with the raw edges facing outwards, as shown in the photo. Begin by pinning the back seam to the mark at the sole back, then pin the central point on the slipper top right side and slipper sole together. Pin along the right side. Staystitch in place. 02 Step three Repeat this for the left side of this slipper top so that the toe areas overlap. Step four Repeat for the other slipper sole and top, making sure you create a slipper mirror image.
ADDING THE SOLE Step one Pin one of the suede sole pieces onto the top of the slipper so RS are facing. Match up all of the marked points then sew together with a 1cm (3⁄8in) seam allowance (depending on required size). Leave a turning gap along one edge. 03
Step two Carefully trim off the excess seam allowance and turn the slipper RS out through the turning gap. Step three Tuck the raw edge of the gap to the inside and then neatly slip stitch closed to finish. Step four Repeat these steps to add the sole to the second slipper. 04
bathroom makes Storage Pods
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YOU WILL NEED Larger pod: Q Outer fabric: 50x66cm (20x30in) Q Lining fabric: 60x90cm (24x36in) Q Iron-on fleece: 50x66cm (20x30in) Small pod: Q Outer fabric: 40x50cm (16x20in) Q Lining fabric: 50x75m (20x30in) Q Iron-on fleece: 40x50cm (16x20in) Q Matching thread Q Basic sewing kit MATERIALS USED The fabrics are from the Mediterraneo collection by Katarina Roccella for Art Gallery Fabrics. For stockists visit www. hantex.com Herculaneum. Ref: AGFMED22607. Zanafi Aqua. Ref: AGFMED22601. Olive Foliage. Ref: AGFMED22602. Shell Blaze Night. Ref: AGFMED22611. Style-Vil fleece interfacing. For stockists visit www.vlieseline.com NOTES Q Use a 1cm (3⁄8in) seam allowance. Q Download the templates from www. simplysewingmag.com/downloads
CUTTING OUT
MAKING UP THE POD SECTIONS
Step one Download, print and cut out the templates for your chosen pod size. Step two For the base of the larger pod draw a 22cm (8¾in) circle onto paper or for the base of the smaller pod draw a 17cm (6¾in) circle. Step three Iron the fusible fleece onto the wrong side (WS) of the main fabric pieces. Step four For the larger pod: From the outer fabric cut: Base: 22cm (8¾in) circle. Pod top outer: cut one on the fold, using the template. Step five From the lining fabric cut: Base lining: 22cm (8¾in) circle. Pod top lining: cut one on the fold, using the template. Hanging loop: cut a strip 5x15cm (2x6in). Binding: cut a strip 4x75cm (15⁄8x29½). Step six For the smaller pod: Base: 17cm (6¾) circle. Pod top outer: cut one on the fold, using the template. Step seven From the lining fabric cut: Base lining: 17cm (6¾in) circle. Pod top lining: cut one on the fold, using the template. Hanging loop: cut a strip 5x15cm. Binding: cut a strip 4x60cm.
Step one Pin the pod lining piece right sides (RS) together along the two straight edges. Sew together and press the seam open. 01 Step two Repeat for the main fabric pod top outer piece, but this time topstitch the seam open.
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ADDING THE POD BASE Step one Fold the outer base circle in half and then in half again to make a quarter circle. Mark the quarter points on the outer fabric piece and repeat for the lining fabric circle. In the same way, mark the quarter points on the pod outer along the bottom edge. Step two Snip along the round bottom edge of the pod top within the seam allowance – this will make it easier to pin to the base. Step three Matching the quarter points, pin the outer and lining base circles to their matching main and lining fabric pod tops with RS together. Step four Sew the circle base to the pod tops as shown and then press. 02
ADDING THE HANGING LOOP Step one Place the pod lining inside the pod top so that wrong sides (WS) are facing. Match the seams then pin together along the top edge. 03 Step two Staystitch the pod outer and lining together along the pinned edge.
Step three With WS facing, fold the hanging loop in half lengthways and press. Open out then fold the two long edges into the middle and press. Fold again and topstitch along the open edge. Step four Press the strip to neaten and then fold the strip into a loop. Pin the loop so that the raw edges align, either side of the central topstitched seam along the pod outer. Staystitch in place.
ADDING THE BINDING Step one Fold the binding strip in half lengthways WS facing and press. Press one of the long edges in by 1cm (3⁄8in) to the WS. Step two With RS facing, pin the binding strip to the pod outer, starting 5cm (2in) from the central seam and 10cm (4in) from the end of the binding. Step three Sew around the binding until you get to 5cm (2in) away from the central seam. Step four Mark the middle point where the binding strips meet by drawing a line on each short end. The marks should overlap and match up with the central seam. 04 Step five Pin then sew the binding short edges together along the marked lines. Trim off the excess binding and finger-press the seam open. Step six Press the binding over to the lining side. Pin and then topstitch in place. Step seven Fold the loop up and stitch in place to secure so the loop is facing above the pod.
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bathroom makes 01
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Gecko decorations YOU WILL NEED Q Fabric A: 20x30cm (8x12in), for the small gecko Q Fabric B: 34x50cm (14x20in), for the large gecko Q Sand Q Wadding Q Matching thread Q Erasable fabric pen Q Basic sewing kit FABRICS USED The fabrics are from the Mediterraneo collection by Katarina Roccella for Art Gallery Fabrics. For stockists visit www. hantex.com Fabric A: Herculaneum. Ref: AGFMED22607. Fabric B: Shell Blaze Night. Ref: AGFMED22611. NOTES Q Download the templates from www.simplysewingmag.com/ downloads Q Use a 1cm (3â „8in) seam allowance unless otherwise stated.
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CUTTING OUT Step one Cut Fabric A in half to create two rectangles measuring 20x15cm (8x6in). Step two Trace the smaller gecko template onto the wrong side (WS) of one of the rectangles. Mark a turning gap along one side. Step three Pin the marked fabric right sides (RS) together with the second fabric rectangle. 01
SEWING THE GECKO Step one Sew the fabric together from turning gap to turning gap, sewing along the marked line. Step two Trim away the excess fabric and clip any corners to reduce bulk. 02 Step three Turn the gecko RS out, carefully
pushing out all of the legs and the tail.
STUFFING THE GECKO Step one Take small pieces of stuffing and push them firmly into the legs and feet, the end of the tail and the head. 03 Step two Stuff the rest of the gecko with sand to add weight. Finish off by pushing wadding into the turning gap, as this will make it easier to sew up later. Step three Tuck the raw edges inwards then close the turning gap with a small ladder stitch. 04 Step four Repeat these steps using Fabric B to make the larger gecko.
bathroom makes 01
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patchwork mat YOU WILL NEED Q Fabric A: 50x32cm (20x13in) Q Fabric B: 50x24cm (20x10in) Q Fabric C: 50x17cm (20x7in) Q Fabric D: 50x17cm (20x7in) Q Fabric E: 13.5cm x width of fabric Q Bathmat Q Matching thread Q Basic sewing kit FABRICS USED The fabrics are from the Mediterraneo collection by Katarina Roccella for Art Gallery Fabrics. For stockists visit www. hantex.com Fabric A: Olive Foliage. Ref: AGFMED22602. Fabric B: Shell Blaze Night. Ref: AGFMED22611. Fabric C: Zanafi Aqua. Ref: AGFMED22601. Fabric D: Herculaneum. Ref: AGFMED22607. Fabric E: Spectrum Solids, Marine Blue. NOTE Q Use a 1cm (3⁄8in) seam allowance.
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CUTTING OUT
ADDING THE BINDING
Step one Cut out the following: Fabric A – cut two 50x16cm (20x63⁄8in). Fabric B – cut two 50x12cm (20x4¾in). Fabric E – cut into three strips 4.5cm (17⁄8in) wide. Join the strips together to make a binding strip 280cm (110in) long.
Step one Take the binding strip and pin it onto the back of the bathmat with the RS facing along one long edge, aligning the edges. Start sewing the strip to the back of the bathmat using a 1cm (3⁄8in) seam allowance. Step two At the first corner, backstitch and take the bathmat off the machine. Fold the binding up at an angle where the stitching ends, then fold the binding back down along the next side of the bathmat. Carry on sewing from the top edge, sewing over the folded the corner and down the next side. Step three Sew the strip to the back of the bathmat until you reach 10cm (4in) away from the beginning of your stitching. Step four Mark the points where the binding strips meet with an erasable pen. Step five Sew the strips together at the marked point. Check they line up then trim away the excess binding and finger press the seam open. Step six Sew the remainder of the binding to the back of the bath mat. Step seven Press the binding strip to the front of the mat. Tuck the raw edge in by 1cm (3⁄8in) and topstitch it to the front of the bathmat. 04
MAKING THE PATCHWORK TOP Step one Pin one Fabric A strip right sides (RS) facing to a Fabric B strip along the long edges. Sew together. Step two Repeat with the other strips. The fabric order is: Fabric A, B, C, D, B, A. 01 Step three Press the seams open, then topstitch along each side of the seam so that they stay in place when attached to the bathmat. 02
ATTACHING THE PATCHWORK TOP Step one Trim your patchwork top to fit the bathmat if necessary. We made our patchwork top 50x80cm (20x32in), then cut away 2cm (¾in) from each short end to fit. Step two Lay the bathmat flat. Place the patchwork top RS up onto the bathmat front. Smooth the patchwork top flat to make sure it lines up with the bathmat. Step three Pin and then staystitch the patchwork to the bathmat around the outside edge. 03
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bathroom makes Washbag
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YOU WILL NEED Q Main fabric: 46x32cm (19x13in) Q Lining fabric: 51x32cm (21x13in) Q Iron-on fleece: 46x32cm (19x13in) Q Zip: 41cm (16in) Q Matching thread Q Erasable fabric pen Q Basic sewing kit FABRICS USED The fabrics are from the Mediterraneo collection by Katarina Roccella for Art Gallery Fabrics. For stockists visit www. hantex.com Olive Foliage. Ref: AGFMED22602. Zanafi Aqua. Ref: AGFMED22601. NOTE Q Use a 1cm (3⁄8in) seam allowance unless otherwise stated.
CUTTING OUT Step one From the main fabric cut: Bag outer: two rectangles 23x32cm (91⁄8x125⁄8in). Zip tab ends: two rectangles 5x8cm (2x31⁄8in). Step two From the lining fabric cut: Bag lining: 23x32cm (91⁄8x125⁄8in). Step three From the iron-on fleece cut: two rectangles 23x32cm (91⁄8x125⁄8in).
PREPARING THE PATTERN PIECES Step one Iron the fusible fleece to the wrong side (WS) of the bag outer pieces. Step two Take one of the bag lining pieces and cut away a 5cm (2in) square from each of the bottom corners along the 32cm (13in) bottom edge. Step three Working on the WS of the fabric, draw a line from the corner point of each cut-away square up to the top edge. This will sit 5cm (2in) in from the outer raw edges. Step four Along the top long raw edge of the fabric make a mark 3cm (1¼in) from the outer short side edges. Step five At the corner of the cut-away square point mark 1cm (3⁄8in) in from the 5cm line, as shown in the image. Step six Finally, mark the middle point along the top long edge of the fabric. 01 Step seven Repeat steps two to six for the other lining piece and the two main fabric pieces.
INSERTING THE ZIP Step one Fold the zip in half then mark the middle point on both sides of the zip tape. Step two Take one of the main fabric pieces, pin the zip to the right side (RS) of the top of this piece, with the zip teeth facing down and matching the zip and fabric central marked points. Step three When you get to the 5cm (2in) marked line on both outer edges start pinning the zip down towards the fabric bottom. The zip will be
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tapered away, starting at the 5cm (2in) point and tapering off completely by the 3cm (1¼in) marked point. Step four Sew the zip to the fabric using a zip foot, being careful not to sew too close to the teeth as the lining will be sewn closer to the zip. 02 Step five Take a lining fabric piece and pin it RS facing to the main fabric piece so that the zip is sandwiched in place. Sew the pieces together all the way along the top edge, sewing slightly closer to the zip than before. Step six Press the fabrics open so that the WS are aligned and facing. Repeat for the second main fabric and lining fabric pieces. 03 Step seven Topstitch in place along the zip edges.
MAKING UP THE BAG Step one Unzip the zip half way. Pin the two main fabric pieces RS facing and the two lining fabric pieces RS facing, aligning all edges. Step two Sew together along both long sides and then along both bottom edges. Leave a turning gap along the bottom edge of the lining. Step three On the bag outer, pull the 5cm (2in) cut-away bottom edges together so that the side and bottom seams line up. Pin and then sew together to create neat boxed corners. Repeat this with the lining. 04 Step four Turn the bag RS out through the turning
gap. Turn the raw edges of the gap to the inside and slip stitch closed.
ADDING THE ZIP TAB ENDS Step one Take one zip tab end piece and fold the edges of the long sides to the WS by 1cm (3⁄8in) and press. Then fold the short sides in by 1cm (3⁄8in) and press to create a strip 3x6cm (1¼x23⁄8in). Step two With WS facing, fold the strip in half and sandwich it onto one of the zip ends. Pin in place and then topstitch all the way around. Step three Repeat this with the other zip tab end to finish the washbag.
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PSSTo: r styling
af f e l r e et v g o r o f t ' Turn n nd do a , n o i t inspira e your ďŹ nished ged to sha r g a t s s e Dr Aisling wingmag se #simply
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CovEr
WHILE STOC
the aisling DRESS Go boho with The Aisling Dress, a laid-back frock for everyday wear with a gathered skirt, neat collar, V-neckline and full sleeves, in UK sizes 6-20.
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th ais ing DR SS As much as we enjoy breezing around in floaty frocks on balmy days, late summer might just be our favourite time of year. Still warm enough for cotton dresses but cool enough for sleeves, it opens up so many stylish sewing possibilities – including this issue's cover star, The Aisling Dress, a versatile number that'll work for this season and the next. It reminds us of all our summer must-haves – a boho vibe, loose fit and swishy skirt – but the gathered sleeves mean we can rock it into autumn, too. Hurrah! What's more, Aisling's simple style gives you so many ways to make it your own, from mixing directional stripes, to adding colourful embroidery or statement patches as we have.
TUNIC INSPIRED Features an open V-neckline and optional tassels for a relaxed vibe.
YOU WILL NEED Q Main fabric: 115cm (45in) width fabric x 3m (3½yds) for all sizes Q Iron-on interfacing: 40x60cm (16x24in) Q Zip: 56cm (22in) Q Matching thread Q Basic sewing kit
FABRIC SUGGESTIONS
FLOATY SKIRT Gathers give the skirt a flattering full shape.
Light to medium weight cottons, crepe, rayon, viscose or linen. GETTING STARTED First, pre-wash and dry your chosen fabric to allow for any shrinkage. Unfold the pattern and find the line style for your size using the key provided. Follow these lines to cut your pattern pieces out – it can be helpful to mark the lines for your size using a highlighter. Read all of the instructions before you start to ensure you do each step in the correct order, get your fabric, notions and sewing kit ready so that you have everything you need to hand, press your fabric for accurate cutting out – and you’re ready to get started on your Aisling Dress!
a collar, Learn o sew and and fitted waistb t. gathered skir
EASY WEAR Includes an on-the-knee skirt for style and comfort.
th ais ing DR SS Insect collection embroidery magic paper kit, £5.99, www.dmc.com
Patch Flower duo, £13.50 from www.stoffstil.co.uk
Pretty
Nen pineaple irn-n patch. £5, www.hand embroideryshop.com
Neon rainbow patch, £6.25, www.merimeri.co.uk
'Share the Love' iron-on patch, approx £6, www.cozybluehandmade.com
Jazz up your me-mades with sassy slogans, rainbow brights, tasty-looking treats or a bouquet of blooms. 'Eat Me' dughnut irn-n patch, £5, www.ustudio.design
'I make things with my hands' embroidered patch, £7, www.thenewcrafthouse.com
Flower Power and Cacti patch, £5 each from www.jacquelinecolley.co.uk
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no PatTern NeeDeD!
in full swing Get your dancing shoes on – you won't be able to resist doing a twirl in Jennifer Mills' rockabilly skirt.
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PSSTs:ign, follow
de r e l l u f 41 to e g For a a p n ial o r o t u t t you r a h ou t t a o pettic a e your k a h t m a e n nder u p o p n irt! ca k s d e r i sp 1950s-in
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1950s skirt YOU WILL NEED
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For the skirt: Q Main fabric: see instructions for measurements Q Contrast fabric: see instructions for measurements Q Invisible zip: 20cm (8in) Q Button: 18mm (¾in) diameter Q Iron-on interfacing, for the waistband: see instructions for measurements Q Erasable fabric pen Q Matching thread Q Basic sewing kit For the petticoat: Q Cotton fabric: for the hip yoke, see instructions for measurements Q Tulle: see instructions for measurements Q Elastic: 18mm (¾in) width x the length of your waist Q Satin bias binding: 3cm (1¼in) width x length of the second tier NOTES Q CF = centre front. Q CB = centre back. Q The zip fastening and buttonhole is designed to sit on your left hip. Q Use a 1.5cm (5⁄8in) seam allowance unless otherwise stated. Q Neaten all seam allowances using a machine zigzag or by overlocking.
edge on the main skirt and the border piece.
CUTTING OUT MAKING THE SKIRT DRAFTING THE PATTERN Step one Measure your waist and divide this waist measurement by 6.28. This will give you the radius for drawing the waistline curve onto the pattern paper. For example, the radius for a waist of 70cm (275⁄8in) is 11.1cm (43⁄8in). Step two Mark this radius measurement onto the pattern paper, pivoting the tape measure from the same point to make a quarter circle. Step three Mark one straight edge as ‘CF and CB cut on fold’. Add the seam allowance to the side seam and to the waist edge. 01 Step four Measure from the waist seam to the desired skirt length and mark dots at regular intervals. Join the dots to create a curved hem. 02 Step five Measure your drawn pattern pieces to calculate your fabric requirements. Step six Lay the paper pattern over the top of the fabric to determine where to place the curved seam to maximise the width of fabric. 03 Step seven Mark this curved seam, measuring from the waist edge at regular intervals. Join the dots to create a curved seam line. Step eight Cut along this line to separate the pattern pieces, which will give you the main skirt pattern piece and a lower edge border piece. Step nine Add a seam allowance to this curved
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Step one From the main fabric cut as follows: Skirt front and back: one piece for each using the main skirt pattern. Mark notches at the CF/CB line. Zip placket: 9x25cm (35⁄8x97⁄8in). Waistband: 9cm (35⁄8in) width to the length of your waist measurement plus 6cm (23⁄8in). Step two From the contrast fabric cut as follows: Skirt front and back: one piece for each using your border pattern. Step three From the iron-on interfacing: Waistband: Cut one, as for the main waistband.
INSERTING THE ZIP Step one Staystitch the waist edge of the skirt, 1cm (3⁄8in) from the edge. Step two Pin and tack the invisible zip into the left side seam, making sure the end stops at the top of the zip are positioned 3cm (1¼) below the raw edge of the waist. 04 Step three Use an invisible zip foot to sew the zip into place from top to bottom on each side.
STITCHING THE SIDE SEAMS Step one Stitch the left side seam together from just above the bottom of the zip to the bottom edge of the skirt. Step two Stitch the right side seams of the skirt front and skirt back.
Step three Sew the lower edge border front and border back right sides (RS) together at the short sides. Neaten all the seam allowances and press the seams open.
ADDING THE ZIP PLACKET Step one Fold the zip placket in half lengthways with RS facing. Sew together along the bottom short edge using a 1cm (3⁄8in) seam allowance. Turn RS out and press. Step two Stitch the two long raw edges together using a machine zigzag or by overlocking. 05 Step three Pin the zip placket onto the skirt back piece of the left-hand side with the zip, matching the seam allowances and lining up the raw edges at the top waist edge. Step four Sew from top to bottom, 1cm (3⁄8in) from the neatened edge, stitching through the placket, the seam allowance and the zip tape, folding the skirt out of the way. 06
ATTACHING THE WAISTBAND Step one Press the waistband interfacing onto the wrong side (WS) of the waistband main fabric piece. Turn under one long edge of the waistband by 1.5cm (5⁄8in) to the WS and press. Step two Place the unfolded long raw edges of the waistband RS together with the waist edge of the joined skirt front and skirt back pieces. Each short end of the waistband should extend beyond the edges of the placket and zip teeth by 1.5cm (5⁄8in).
1950s skirt 03
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CUTTING OUT Step one Fold the cotton fabric along the bias and pin the short edge of the yoke pattern piece on the bias fold. Cut around the pattern piece for the hip yoke front. Cut another identical piece for the hip yoke back. Step two Fold the hip yoke pieces in half and mark the fold position as a notch point along the bottom edge, using an erasable fabric marker. Step three Cut the tulle pieces using the following cutting guide: First tier: Cut two pieces, each one with a width of 27cm (105⁄8in) and a length of six times the length of the yoke pattern piece. One piece is for the front and one for the back. Second tier: Cut two pieces, each with a width of 27cm (105⁄8in) and a length of three times the first tier. One piece is for the front and one for the back. Step four Fold each of the tier pieces in half widthways, then in half again. Mark the fold positions at the top and bottom. These marks will make matching the pieces together easier.
JOINING THE GATHERED TIERS AND YOKE
Step three Starting at the edge of the zip placket, sew the skirt to the waistband all the way around. Grade the seam allowance and clip the corners to reduce bulk. Step four Fold the short edges of the waistband over with RS together and sew into place 1.5cm (5⁄8in) from the raw edges. 07 Step five Trim the seam allowances and then turn the waistband RS out. Step six Pin the pressed edge of the waistband into place to encase the raw edges and then neatly slipstitch closed. Step seven Sew a buttonhole onto the zip side of the waistband and a corresponding button onto the placket side of the waistband.
ATTACHING THE SKIRT BORDER Step one Fold the main skirt in half with RS facing, matching side seams. Fold in half again and mark the quarter points on the skirt front and skirt back. Step two Fold the upper edge of the border piece in the same way and mark the quarter points. This will make sewing the curved edges easier. Step three With RS facing, pin the bottom edge of the skirt to the top edge of the border, matching the side seams and notches, and sew together. Step four Neaten the seam allowance and press the seam upwards.
BINDING THE HEM Step one Open out the bias binding and pin it RS
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together to the lower edge of the border. Turn the short edge at the beginning under by 1cm (3⁄8in) to the WS. Step two Sew together in the fold of the binding along the curved lower edge of skirt, starting at the side seam and overlapping the other end by 1cm (3⁄8in), trimming to fit. Step three Press the binding over to the WS of the skirt. With the binding facing upwards, topstitch into place close to the folded edge to finish.
MAKING THE PETTICOAT DRAFTING THE PATTERN Step one Measure your hip at the fullest point. Draw a rectangle onto pattern paper measuring a quarter of this measurement in length and 19cm (17½in) in width. Mark the centre of the top long edge. This will be used for the CF and CB. Step two Draw two lines on the pattern piece, dividing the piece into three equal sections down the short width of the pattern piece. Step three Cut along these lines, stopping short of the bottom edge by 3mm (1⁄8in). Step four Overlap each section along the cut lines by 1cm (3⁄8in) and tape into place. This will create a curved hip yoke pattern piece. The piece includes seam allowances of 1cm (3⁄8in) and casing for the elastic at the waist edge of 2cm (¾in). Step five Draw an arrow onto the pattern piece at 45 degrees from the centre mark to denote the bias grainline.
Step one With a long stitch length, sew two lines of stitches along the top long edge of both front and back pieces of the first tier 5mm (¼in) and 1cm (3⁄8in) from the edge of the fabric. Step two Pin the gathered tier RS together to the lower edge of the yoke piece, matching notches. Pull up the bobbin thread and distribute the gathers evenly. Sew together, ensuring there are no gathers at the first and last 2cm (¾in) of the seam, then neaten the seam allowance. 08 Step three Repeat the gathering technique for the lower tiers and sew them to the first tier, RS facing. Step four Repeat to construct the back petticoat. Step five Place the front petticoat and back petticoat RS together, matching side seams and tiers. Sew together down the sides. Neaten the seam allowance in the yoke area only and press towards the back. Step six Neaten the top waist edge of the yoke and turn it over by 2cm (¾in) to the inside, press. Step seven Topstitch in place close to the edge, forming a casing for the elastic. Leave a 3cm (1¼in) gap for the elastic to be threaded through. Step eight Using a safety pin, thread the elastic through the casing all around the waist edge and out through the gap. Overlap the ends of the elastic by 2cm (¾in), making sure it isn't twisted, and secure in place using a zigzag stitch. Step nine With the elastic inside the waist casing, close the gap by sewing a straight stitch in line with previous stitches.
BINDING THE HEM Step one Open the bias binding and pin it RS together to the petticoat lower edge. Turn the short edge at the start under 1cm (3⁄8in) to the WS. Step two Sew together in the fold of the binding, overlapping the other end by 1cm (3⁄8in). Step three Press the binding over to the WS of the petticoat and topstitch into place to finish.
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reworking it Get more out of your pattern collection with Roisin McKenna's clever cami hack, with two styles to sew.
PatTern Hack
mi use Your Silk Ca e 43 U s Is m o r F n r e T t i Pa FloAty StyLe
Designed for drapey fabrics suc h as sil k, crepe, ray on and cot ton.
grEat BeginnEr'S PatterN CAMI TOP FRONT
BACK
EXCLUSIVE PATTERN
SkiLls BooSting
FROM
Lea rn to sew French sea ms and facings for a professional finish.
cami patt rn hack
Button-up top
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YOU WILL NEED Q Camisole pattern Q Main fabric: 115cm (45in) width x 2.2m (2½yds) Q Ruler Q Matching thread Q Basic sewing kit FABRIC SUGGESTIONS Lightweight, drapey fabrics such as silk crepe de chine, rayon, crepe or cotton lawn. FABRIC USED Printed cotton voile by Seasalt Cornwall. Available to buy from www.seasaltcornwall.co.uk NOTES Q Use a 1.5cm (5⁄8in) seam allowance unless otherwise stated. Q The Silk Cami pattern uses French seams throughout. Our version has been overlocked, but you can use either method to finish raw edges. Q It is important to remember that the left and right front pieces refer to the position of them when worn.
PREPARING THE PATTERN
SEWING THE TOP
FINISHING THE BUTTON PLACKET
Step one Trace the cami front piece onto pattern paper. Trace a second piece as a mirror image for the other side of the body. The front pieces will be cut out separately. Before cutting, we need to add on extra as a placket facing to the left front pattern piece – remember this refers to the position when worn, as detailed in the notes. Step two Working on the left front pattern piece, measure outwards from centre front (CF line) by 1.25cm (½in) and draw a parallel line to this measurement– this is the placket extension. Measure outwards from this line by 3.5cm (13⁄8in) and draw another parallel line – note this measurement includes a 2.5cm (1in) facing and a 1cm (3⁄8in) seam allowance. Step three On the right front pattern piece measure 1.25cm (½in) from the CF line and draw a parallel line. Then measure 1cm (3⁄8in) from this line and draw another parallel line Step four Draw a rectangle 4.5cm (17⁄8in) wide and the length of the CF line to create the buttonhole placket pattern piece.
Step one Sew the side seams and attach the facing as in Sew Over It’s instructions. You will notice that the facing stops short of the CF edges – this will reduce bulk and the facing edges will be hidden beneath the placket. 01
Step one Measure the placket and calculate how you would like to space your buttons. Mark the placement of your buttonholes with crosses on the right placket piece, and the buttons with dashes on the left placket. 04 Step two Following your sewing machine manual, stitch buttonholes onto the placket according to the button width. Step three Hand-sew the buttons on the left side.
CUTTING OUT
Step one On the left front piece press the raw edge to the WS by 1cm (3⁄8in) . Then turn the folded 1cm (3⁄8in) over by 2.5cm (1in) and pin. 03 Step two Tuck the excess placket facing at the neckline into the gap between the placket facing and the cami facing. Topstitch 2mm (1⁄8in) from the top edge and then down the folded long edge to secure the placket facing.
ATTACHING THE BUTTONHOLE PLACKET Step one Pin and sew the buttonhole placket to the right front cami piece, with the right side (RS) of the placket facing the wrong side (WS) of the front cami piece. Use a 1cm (3⁄8in) seam allowance. Step two Turn the raw edge of the placket to the WS by 1cm (3⁄8in) and press. 02 Step three Turn the entire placket to the RS of the top and press. Pin the placket in place then tuck the excess placket fabric at the neckline inside the gap between the placket and facing and pin. Step four Topstitch 2mm (1⁄8in) from the folded edge and 2mm (1⁄8in) from outer edge of the placket. Topstitch the top edge of the placket to neaten and finish.
SEWING THE PLACKET FACING Step one From the main fabric cut out: Left front: cut 1. Right front: cut 1. Back: cut 1 on fold. Front facing: cut 1 pair. Back facing: cut 1 on fold. Buttonhole placket: cut 1.|
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FINISHING THE TOP Step one Follow the camisole pattern instructions to hem and finish the top.
cami patt rn hack
cami dress
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YOU WILL NEED Q Camisole pattern Q Main fabric: 115cm (45in) width x 3.1m (3½yds) Q Ruler Q Matching thread Q Basic sewing kit FABRIC SUGGESTIONS Lightweight, drapey fabrics such as silk crepe de chine, rayon, crepe or cotton lawn. FABRIC USED Printed cotton voile by Seasalt Cornwall. Available to buy from www.seasaltcornwall.co.uk NOTES Q Use a 1.5cm (5⁄8in) seam allowance unless otherwise stated. Q The finished length of our dress is 100cm (39in) from shoulder to hem. Q The Silk Cami pattern uses French seams throughout. Our version has been overlocked, but you can use either method to finish raw edges.
CREATING THE DRESS PATTERN Step one Trace the cami front pattern onto pattern paper and mark the notches. Step two On the front pattern piece, extend the centre front (CF) line upwards by 25cm (97⁄8in). Step three Draw a 90-degree horizontal line from the shoulder across to meet this extended line. 01 Step four Measure down from the top of the horizontal line at the shoulder point to your desired dress length, and add 2.5cm (13⁄8in) to this point. This will give you a 1cm (3⁄8in) allowance for the dress hem. Mark the line at this point. 02 Step five Draw a 90-degree line from the hem point mark towards the side seam. Step six At the bottom edge of the original front pattern piece, measure 3-5cm (1¼-2in) out from the side seam and mark this on the paper. You can alter this measurement depending on how wide you would like the dress to be. 03 Step seven Use a long ruler to connect the underarm side seam point to the 3-5cm (1¼-2in) mark, then continue this line down until you reach the horizontal line at the hem point. Step eight Using the original front pattern pieces as a guide, draw a neat curved line from the CF to the side seam at the bottom edge. Step nine Repeat these steps to create the pattern for the back dress.
CREATING THE FACING PATTERN Step one Use your new front dress pattern piece to redraw the front facing pattern so the side seams match those of the front dress. 04
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Step two Repeat this step to create the back dress facing piece pattern.
CUTTING OUT THE PATTERN PIECES Step one Measure the side seams to ensure that the front and back side seams are the exact same length. If not, alter the curves at the bottom edge slightly to correct the difference. Step two Cut out the pattern pieces, ensuring all notches have been transferred. The side seam notches will need to be remarked. To do this, lay the front back side seams together and mark a notch in centre of the seam on both pieces.
CUTTING OUT THE DRESS Step one From the main fabric cut: Front dress: 1 on fold. Back dress: 1 on fold. Front facing: 1 on fold. Back facing: 1 on fold.
MAKING THE DRESS Step one Sew the side seams, facing, shoulder seams and hem as per the camisole instructions. Get a copy of Sew Over It's The Silk Cami pattern with Simply Sewing issue 43 at www.sewingquarter.com, or buy a PDF version of the pattern to print at home at www.sewoverit.co.uk
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Handmade
WARDROBE Make your time, money and sewing talents go further by creating everyday essentials. Written by Sarah Gane.
Photo: © Merchant & Mills
T
he beauty of clothing is that it offers a fantastic tool for creative expression. What’s more, getting the colour, fit and fabric of a garment right can transform the way we look and feel. When it comes to wardrobe staples, though, it can be all too tempting to reach for the rails of our favourite retailers rather than our own sewing boxes, ultimately saving our handmade items for special occasions. But it
doesn’t have to be this way. “I think we have a choice to spend our free time wandering around the shops or searching the internet trying to find the perfect wardrobe pieces,” says director of Merchant & Mills (www. merchantandmills.com), Carolyn Denham. “Some people do that and we are happy for them. But the other option is to make your own in the colours and fabrics you love.” Aside from the feel-good factor involved in
sewing your own, there are also massive environmental benefits. Research by Wrap (www.wrap.org) shows it takes 2,720 litres of water to make a T-shirt – the same amount we’d normally drink over a three-year period. What’s more, if that T-shirt is an ill-fitting garment, we’re not even likely to wear it that much, if at all. Creating your own could mean you have a curated collection of clothes that enhance your features and reflect your style.
A GOOD R AD SEWING SELF-CONFIDENCE
Sonya Philip set herself a challenge to sew 100 dresses in a year, and now has her own range of patterns (as well as an enviable wardrobe!). stuff I liked and fit well. My body may have changed, but I still wanted to wear things I loved! I decided to stop trying to fit into a mould and just make things that fit me where I was, that day, and every day since.”
SIMPLE BEGINNINGS If you’re relatively new to dressmaking, it’s a good idea to start with a few simple makes to build your confidence. “The Top 64 is a great beginner pattern,” Merchant & Mills’ Carolyn tells us. “The little in-seam pockets are easy to do and give a great satisfaction.” Keen sewist and microblogger Hannah Brown (aka @Heritage Ninja) is “a massive fan of Named Clothing (www.namedclothing.com) and their Kielo Wrap Dress pattern. I've made three so far, and it's a proper confidence-boosting pattern to start with that’s so flattering on everyone.” Trine Schroeder, a seamstress, sewing teacher and shop assistant at the beautiful Danish craft store, MeterMeter (www.meter meter.dk), also loves Finnish pattern brand Named, adding: “I love that they are drafted for taller women.” But when it comes to the process of dressmaking, her advice is to take it slow. “Begin with a very simple project. No, begin with 5-10 simple projects. Choose patterns designed for woven fabrics; for a beginner, a cotton lawn or linen is easier to handle than a drapey viscose jersey.” Aside from the handling aspect, different fabrics can really alter how a piece of clothing sits on the body. “A fabric choice can make or break
Photos right: © Jessica Waldegar
"a curated collection of clothes that enhance your features and reflect your style."
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Photos: © Sonya Philip
The positive feeling that comes with creating a personal wardrobe was one of the reasons blogger Sonya Philip of 100 Acts of Sewing embarked on making her own clothes. “It not only allows me to express myself, making garments in whatever colour or print I desire, but I’m also walking around and living in clothes that are a result of my skill. It’s like the making and wearing combine to create a self-confidence that I was missing,” she tells us. “I don’t have to feel bad because things don’t fit me – I can make something to fit. If a sleeve is tight or something is too long, I have the ability to adjust and sew things.” Her project, also called 100 Acts of Sewing, was a year-long personal challenge to make 100 dresses in a year. She charted her results on her Instagram and blog (www.100actsof sewing.com) and quickly gained a large following inspired by her work. A range of her own patterns followed, encouraging sewists all over the world to get involved. “The idea of making a wardrobe from scratch is superintimidating,” explains Sonya. “But you just get started one piece at a time, and slowly you can start to swap out the store-bought pieces for the ones you have made. Aim to get comfortable with a pattern or two that can become your wardrobe staples.” While the fashion industry encourages us to assume there’s an ultimate capsule wardrobe you need to own – a white shirt, little black dress, good tailored trousers and so on – wearability is the goal here, so tailor the fit and choice to your own needs. “I would suggest looking at your laundry basket as a way to take a close inventory of those things that you wear every day,” says Sonya. “Most of the time the clothes that stay hanging in our closets or tucked into the back of a drawer are seldom-worn things – and what’s the point of spending time and effort making those items?” Jessica Waldegar, aka @kunklebaby, agrees: “My biggest advice would be to create pieces you know you’ll actually wear. Look at your current wardrobe and see what your mostworn items are. Dresses? Activewear? What colours or prints do you find yourself always drawn to? Use that information to start working on your staple pieces.” Maker, artist, teacher and mother of five, Jessica is a keen creator, and had a business making children’s clothes and accessories, but actually only started making her own clothes a few years ago. “It wasn’t until I had a few kids that I started really sewing much for myself. After having babies, I had a hard time finding
Jessica Waldegar advises starting out by finding "one really greatfitting pattern. Then you can play with style lines."
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Photos: © Trine Schroede
Above: Sewing teacher Trine Schroede says to "begin with a simple project. Choose patterns designed for woven fabrics; for a beginner, cotton lawn or linen is easier to handle.”
Photos: © Hannah Brown
a garment,” confirms professional seamstress and sewing tutor, Amanda Brown (www. cottonontosewing.com). “If you wanted to make a floaty, drapey top, you would not make it in cotton. Look at the labels on existing clothes of your wardrobe to give you an idea of what fabrics have been used for different styles of garment.” It’s also important to consider the quality as well as longevity in this respect, as Merchant & Mills’ Carolyn tells us: “My mother’s advice was to use the best fabric you can afford. I have always stood by this.” Blogger Hannah agrees, adding: “I wanted to take myself out of the fast fashion race and really think about what my style was and the kind of fabrics and shapes that I wanted to wear. I love natural fibres like linen and silk and now I can focus on making my entire wardrobe out of them.”
to be cut up and spliced together. It’s a real treat to see all the variations people come up with, from adding facings, to ruffles at sleeves or hems. I was a big fan of the Choose Your Own Adventure books when I was growing up and I’d like to think my patterns have a similar potential for multiple outcomes.” Don’t be daunted by denim, either – the new range of jean patterns by Merchant & Mills aim to demystify the process: “They are an advanced project, but the goal is to have the perfect-fitting jean. My advice would be to break the project down into manageable sections,” says Carolyn. Her process is to start with the back pockets, yoke and centre-back seam. She then tackles the front and ticket pockets, front fly, inside leg seams and side seams. Follow it up with the waistband, belt loops and button hole, and then finish with the hems and button. “We are currently completing a book about making jeans and working with denim,” she reveals, “so there will be advice and expert knowledge in there.”
"I no longer follow any of the trends, but instead I try to make clothes I will love."
FITAND FLATTER
Sewing has changed Hannah Brown's outlook on clothing. "I now really think about how much I need in my wardrobe and what its impact on the environment is."
Once you’ve defined your style and practised on a few items of clothing, your confidence will start building. Consider exploring how to customise what works to get different results. “Try to get one really great-fitting pattern at first,” Jessica Waldegar tells us. “Then you can play with style lines or colour-blocking. Switch it up a little to keep it interesting.” This creative customisation is also something Sonya encourages with the 100 Days of Sewing patterns. “Shirt No.1 is my most beginner-friendly pattern. But all my patterns have things for all levels of expertise because they can act like a blank slate, ready
TAKING TIME Whatever it is you decide to make, the important thing is just to allow yourself the time to create, as well as savouring each stage of the production. “The better seamstress you are, the more time you take in every part of the task,” says Carolyn. “Cut no corners. Rush nothing, from the cutting out to hemming.” Pattern designer Marilla Walker (www. marillawalker.etsy.com), is another advocate for taking a slow, careful approach to sewing.
A GOOD R AD “The dressmaking process itself can be as simple or complicated as you want to make it and largely depends on which silhouettes or styles you are drawn to. I really love to sew and wear simple styles, but then enjoy applying quality finishes for a good-quality garment. My most challenging and daunting task has always been buttonholes… however, since I have learned how to make hand-sewn buttonholes I love them completely!” This persistence throughout the process is key, and is something that Sonya regards as her best-kept dressmaking secret. “When we make something, there’s a desire to get things right the first time, and when it doesn’t meet our expectations it’s easier to give up and say, ‘I can’t do it’. So keep on doing it. That fussy technique will only get easier the more times you do it. Carve out a desk or room where your machine can remain out and ready to use, and just keep on sewing.” Getting into good sewing habits will improve the end results, too. “With any form of dressmaking or clothing alterations, you need to instinctively remember to press after each seam or stage of sewing is stitched,” advises Amanda. “You have to make this part of your sewing routine. After all, you would not leave your car without its handbrake on… you would not leave a seam unpressed.”
Keeping organised as you build your memade collection is also key, as Hannah reveals: “I keep a log of everything I’ve made – the type of fabric used, the costs, the techniques and anything that could be improved on for future reference.” While it’ll never compare to the price points of some store-bought items, the quality and fit will mean that it outlives any of those purchases. “Think about the sustainability of what you’re doing,” says Hannah. “Moving away from fast fashion has enabled me to really think about how much I need in my wardrobe and what its impact on the environment is. I no longer follow any of the trends, but instead I try to make clothes I need and will love.” And that's a mantra we'll be sewing – and dressing – by from now on. Below: Marilla Walker relishes spending time on the finishing touches. "I love to sew and wear simple styles, but then enjoy applying quality finishes for a good-quality garment."
FITTING TOP TIPS Professional seamstress and sewing tutor Amanda Brown offers her advice on how to make your best-fitting clothes yet.
FOCUS ON FIT Whether you’re making your own garments or altering something you already own, the fit is the most important aspect of the process, as Amanda tells us: “When tackling this, the three words you need to remember are: length, circumference and depth. You also need to know which part of the garment needs altering to fit your body perfectly.”
TAKE IT SLOW The first stage of the alteration is to take the time to observe. “It can often mean looking at the garment on the body to figure out what area needs adjusting and tweaking,” says Amanda. “Keep in mind that sometimes it’s not always where you might think. Looking at how the outfit drapes, and where best the adjustments need to be made, always coming back to the length, circumference and depth.”
USE EVERY SCRAP Once you’ve pinpointed what needs to change, how do you ensure the tweaks blend in with the rest of the item of clothing? Amanda offers this fabulous advice: “My best alteration tip was one I learned at 15 years old during my apprenticeship. If you unpick the overlocker thread, you can reuse it for your topstitching so that the garment looks unaltered. To this day I now teach my students this trick in my weekly workshops.”
Photos: © Marilla Walker
Photo: © www.cottonontosewing.com
Professional seamstress and sewing tutor Amanda Brown runs sewing classes and workshops in Dorset. Find out more at www.cottonontosewing.com
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WHILE STOCKS LAST
the tamsyn top Meet your new go-to staple, The Tamsyn Top, an easywear tunic in UK sizes 6-20 with a relaxed silhouette, pretty gathered sleeves and optional tassel ties.
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PRO DETAILS Take time to sew a crisp collar for a professional finish.
CUTE TASSELS Add bright tassel ties as a colourful finishing touch.
FLATTERING FIT A loose, tunic-style silhouette makes for easy fitting – and wearing.
PSST:
We used a p retty embro idered fabric from Fabric Godm other for our Tam syn top. Visi t www.fabricg odmother.co.u k to see the fu ll range .
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th tamsyn top wear it with
Sweeten up your wardrobe with strawberry-adorned stripes from www.minervacrafts.com
On Lines, www.art galleryfabrics.com
CasuaL cooL Live your best weekend life in these easy-breezy styles. A rose motif is all we need o justify buying another sun hat, £12.50, www.mandco.com
Blue Stripe, www. minervacrafts.com
Go retro in a pair of 1960sstyle oval sunnies, £12, uk.accessorize.com
Lineup, www.art galleryfabrics.com
Channel yur inner Jane Birkin ith a boho basket bag, £24, www. topshop.com
FABRIC INSPIRATION
stripes forever Tamsyn's simple shape is perfect for directional prints – and that means stripes, stripes and more stripes!
Secret-pyjama linen trousers are a must for sunny weekends, £49.95, www.whitestuff.com
Walk tall (and be comfy, to!) in chic wedges, £35, www. simplybe.co.uk
Paparounes Spices, www.artgalleryfabrics.com
Petits Strokes Rose, www.artgalleryfabrics.com
Pretty up your espadrille collection with a lacy floral pair, £20 from www.mandco.com Hyphenated, www.artgalleryfabrics.com
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A subtle stripe is perfect for adding your own embellishments, www.minervacrafts.com
UpcYcle QUICK PROJECT
floral flourish Play with print-mixing and add a contrasting panel to a classic stripe tee. Jennie Jones shows you how.
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CUTTING OUT
Q A T-shirt two sizes larger than your usual size Q 50cm (19¾in) of lightweight fabric Q Matching thread Q Basic sewing kit
Step one Remove the back panel from the T-shirt by carefully unpicking the side seams, back sleeves, shoulders and neck binding. Step two Use the back panel as the pattern for the new floral panel. 01 Step three Following the grainline, pin the back panel on top of the fabric. Step four Trace around the T-shirt using a fabric marker, adding 3cm (1¼in) to all sides for seam allowances. At the bottom edge, leave 10cm (4in) excess to allow for the curved edge. Step five Place the T-shirt front piece on top of the new T-shirt back piece and fold both pieces in half so that the back piece is on top. Trim the curve to 2cm (4in) longer than the sides of the T-shirt. At the centre back you can increase the length slightly by cutting a deeper curve. 02
NOTE Q Use a 1cm (3⁄8in) seam allowance unless otherwise stated.
ATTACHING THE BACK PANEL Step one Pin the back panel into place with the right sides (RS) facing. Step two Stitch the pieces together, starting at the shoulders, then the back of the arms and the sides.
FINISHING THE T-SHIRT Step one Open the neck binding out and then pin it to the back panel neckline edge with the RS of the fabric facing. 03
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Step two Turn the neckline binding over to the wrong side (WS) of the fabric and then from the RS topstitch along the edge of the fabric to secure. 04 Step three Use a zigzag stitch or an overlocker to finish the curved bottom edge of the back panel. Step four Turn the bottom edge under by 1cm (3⁄8in) to the WS and topstitch into place to meet the sides of the T-shirt.
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cut out & Keep
Carry tropical vibes with you wherever you go with Mollie Johanson’s botanical coin purse embroidered in roumanian stitch.
RouMaNian StiTch
ROUMANIAN STITCH 01
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LEARN THE STITCH 04
USE THE STITCH
YOU WILL NEED
ROUMANIAN STITCH
MAKING THE PURSE
Q Linen fabric: 25x25cm (10x10in) Q Backing fabric: 25x25cm (10x10in) Q Stranded cotton: green shades of your choice Q Rectangular purse frame: 10cm (4in) Q Matching thread Q Basic sewing kit
Step one Mark a line where you would like the center of the leaf to be. Come up from the back on the left side, approx 1cm (3⁄8in) away from the marked line. Step two Take the needle down on the right side of the line approx 1cm (3⁄8in) away from the marked line, then back up just to the right of the center line. Work with the thread under your needle as it comes back up. 01 Step three Take the needle down just to the left of the center line, going over the first stitch. Then come back up on the left side, approx 1cm (3⁄8in) away from the marked line, ready to start on the next stitch. 02 Step four Repeat this process, spacing the stitches as near or far from each other as you’d like, and with the horizontal stitches straight or forming an angle. You can also make the center ‘tacking’ stitch wider for a different look.
Step one Using the template, cut out one piece around the embroidery for the coin purse front, one plain linen piece for the coin purse back and two pieces from the lining fabric for the lining. 03 Step two Measure and mark each side 5cm (2in) down from the top straight edge. With right sides (RS) together, sew around the bottom of the linen pieces and the lining pieces, starting and ending at the markings. Step three Turn the lining RS out. 04 Step four Insert the lining into the linen piece and pin the top edges together with RS facing. 05 Step five Snip into the seam allowance of the lining to make it easier to sew the edges close to the first seams. Step six Sew across the top of the front pieces and then repeat for the back pieces, leaving a 5cm (2in) turning gap. Step seven Turn the coin purse RS out and slip stitch the turning gap closed.
NOTES Q Use a 1cm (3⁄8in) seam allowance unless otherwise stated. Q Download the template from www. simplysewingmag.com/downloads
EMBROIDERING THE LEAVES Step one Trace the leaf layout from the template onto the linen fabric. Step two Embroider the small leaves with bright green stranded cotton and detached chain stitch. Step three For the large tropical leaves use deep green stranded cotton and chain stitch. Step four Use medium green and roumanian stitch for the remaining leaves. Vary the leaf sizes by stitching closer or further away from the line.
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FINISHING OFF Step one Push the top edges of the coin purse into the snap frame. Tack the purse to the frame with a large whip stitch. Step two Stitch through the purse and the frame with running stitch, then go back and fill in the gaps as shown in the photo. Step three Repeat on the other side of the frame, then remove the tacking stitches. 06
trending now Sew your own version of this season’s must-have bag shape with Debbie von Grabler-Crozier’s circle crossbody design.
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CUTTING OUT
Q Main fabric: 30x112cm (12x44in), for the bag outer Q Lining fabric: 50x112cm (20x44in), for the lining fabric Q Iron-on interfacing: 30x90cm (12x36in) Q Iron-on wadding: 30x90cm (12x36in) Q Foam interfacing: 40x72cm (16x28in) Q Zip: 5cm (6in) zip Q Heavy-duty zip: 41cm (16in) Q Adjustable crossbody strap Q 2 D-rings: 1.5cm (5⁄8in) Q Matching thread Q Basic sewing kit
Step one Download, print and cut out the handle tab template. Step two From the main fabric cut: Front and back outer: two circles 25.5cm (101⁄8in) in diameter. Front pocket and pocket lining: two pieces 17x14cm (6¾x5½in). Top zip gusset outer: two pieces 40x5cm (15¾x2in). Base gusset outer: one piece 10x43cm (4x17in). Handle tabs: four pieces using the template. Step three From the lining fabric cut: Front and back lining: two circles 25.5cm (101⁄8in) in diameter. Zip pocket lining: one piece 18x36cm (71⁄8x141⁄8in). Top zip gusset lining: two pieces 40x5cm (15¾x2in). Base gusset lining: one piece 10x43cm (4x17in). Bias binding: 4x170cm (15⁄8x67in). Straight binding: 6x22cm (23⁄8x77⁄8in). Step four From the iron-on interfacing cut: Handle tab: two pieces using the template. Front pocket interfacing: 13x16cm (5¼x63⁄8in).
FABRICS USED The fabrics used are from the Yucatan collection by Annie Brady for Moda. Main fabric: Cactus Night Sky. Lining fabric: Jungle Petunia. NOTES Q Use a 5mm (¼in) seam allowance unless otherwise stated. Q Download the template from www. simplysewingmag.com/templates
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MAKING THE BIAS BINDING Step one Take the remaining lining fabric piece and use a long ruler and a rotary cutter to cut enough 4cm (15⁄8in) wide strips on the bias to make a 170cm (67in) long strip.
Step two Place two strips at right angles to each other with right sides (RS) facing, overlap the raw edges by 1cm (3⁄8in) then sew together. Step three Press the seam open and trim off the pointed ends. Step four Repeat to join all of the strips together to make a 170cm (67in) strip.
MAKING THE HANDLE TABS Step one Press the handle tab interfacing centrally to two handle tab pieces. 01 Step two Place one interfaced handle tab and one uninterfaced handle tab RS together. With the interfaced piece on top, sew along the very edge of the interfacing on both long edges. Leave the short ends open. Step three Notch external corners and clip into internal corners, then turn RS out and press. 02 Step four Topstitch along both long sides. Slide a D-ring to the centre and fold the tab in half. Tack the bottom edge to keep it together. 03 Step five Repeat to make the other handle tab.
MAKING THE INNER ZIP POCKET Step one Place the zip pocket lining wrong side (WS) up on the back lining circle so the top of the pocket piece is 3.5cm (13⁄8in) down from the top of the lining circle and pin. Step two Draw a 1x18cm (3⁄8x71⁄8in) box positioned 3cm (1¼in) down from the top edge of the zip pocket lining and centrally across. This
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is the stitching line. 04 Step three Mark a second line horizontally through the centre of the box with two angles at each end. This is the cutting line. 05 Step four Sew together around the sewing line and cut along the cutting line. Step five Post the pocket lining through the hole and smooth it out on the back. Step six Place the zip under the box so the teeth show through then topstitch in place. Step seven Bring the two short ends of the zip pocket lining together with RS facing. Pin and then sew along the sides and top.
PREPARING THE OUTERS Step one Press the iron-on wadding to the WS of the front outer circle. Trim if needed. Step two Lay this interfaced circle WS down onto a piece of slightly larger foam interfacing and machine-tack with a very narrow seam. Trim the foam interfacing to the seam. 06 Step three Repeat for the back outer circle. 07
MAKING THE FRONT POCKET Step one Press the pocket interfacing piece to the WS of the front pocket piece. Step two With RS together, pin the interfaced front pocket piece to the uninterfaced pocket lining piece and sew all around the edge of the interfacing, but leaving a turning gap in the bottom. Trim the seam allowance back to 0.5cm
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(Âźin) and clip across the corners. 08 Step three Turn out through the gap in the bottom and press the pocket. Step four Place the pocket in the centre of the front outer circle and topstitch on. A double row of stitching will help prevent pocket sag. Step five Sew the front lining circle to the front outer circle with WS facing. Step six Sew the back lining circle with the zip pocket to the back outer circle, WS facing.
MAKING THE TOP ZIP GUSSET Step one Secure the end of the zip with machine or hand stitches then cut off the stopper at the end of the zip to reduce bulk. Step two Tuck the top of the zip tape back on itself to the WS and position the zip teeth to the outer edge. Secure in place with a stitch. 09 Step three Press iron-on wadding on the WS of the two top zip gusset outer pieces. Lay each piece WS down on a piece of slightly larger foam interfacing and machine-tack with a narrow seam allowance. Trim back to the tacking. Step four Take a top zip gusset lining piece and an interfaced outer piece and place them RS together with the zip sandwiched in the middle. Align all raw edges and stitch in place. Step five Open the two pieces out and press, avoiding the zip teeth, then topstitch along the zip tape. Repeat for the other side of the zip. 10
Step six Stabilise the layers by tacking them together at the edge furthest from the zip. Step seven Sew a zip end tab to each zip end.
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ATTACHING THE BASE Step one Press the iron-on wadding to WS of the base gusset outer, then place the foam interfacing on top and trim any excess fabric. Machine-tack with a narrow seam allowance. Trim back to the tacking stitch. Step two Place the base gusset lining on top WS down and tack all layers together. Step three Attach one end of the base gusset to one end of the zip panel. Check for fit around the circle pieces and trim one end if necessary. Step four Attach the other end of the base gusset to the zip panel to form a loop. Step five Press the straight binding strip in half lengthways WS together, then fold the raw edges to the centre crease line and press. Step six Cut this binding piece in half and slipstitch in place on each end of the zip to hide the raw inner edge, trim any excess binding. 12
FINISHING OFF Step one Working inside out and with the zip open, sew the front and back outer circles to the gusset loop. Step two To finish the circular seams, fold the bias binding to encase the raw edges and hand-stitch it into place.
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a good read
FOR THE LOVE OF FABRIC Knitting, weaving, pottery-making – Karen Lewis' love of craft crosses many mediums, but quilt-making is her ultimate creative outlet. She shares how embracing imperfections inspired her latest craft book. Written by Sarah Dawson.
uilting has undergone something of a renaissance over the past ten years. Practised for centuries, the craft was a skill passed down from generation to generation, but slowly began to fall out of favour and gained a reputation as a bit of an old-fashioned hobby. Today, though, quilting is back in fashion (not least in part thanks to the current obsession with upcycling) and attracting new devotees at an impressive rate. Blending traditional skills with exciting, contemporary techniques, there’s a whole host of new crafters showing a renewed interest in this ancient art. Karen Lewis is one such designer breathing new life into the craft. A screen-printer,
Q
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Robert Kaufman fabric designer, tutor and talented quilt-maker, Karen writes books about her passions (both screen-printing and quilting) and creates gorgeous designs for magazines. Just one look at her colourful Instagram account (@karenlewistextiles), with her very impressive 25k followers, and it’s easy to see that being creative is in her blood. “I’ve always sewed, being taught by my grandma when I was little,” she explains. “But it was put to one side in my teenage years and twenties. I got back into it when I had my children and was a stay-at-home Mum, in those early years. Having said that, I wasn’t fully aware of quilting for a long time – it was only with the advent of the internet
era, and Flickr in particular, that I saw all the beautiful quilts and makers out there and wanted to give it a try. I think we all have a lot to thank Flickr for!” Creating is definitely what drives Karen – and it's not always with fabric. “Before I got back into textiles I did a potterymaking course – something I absolutely loved and would like to do again one day. I also knit and have just started teaching myself to weave, which is a lot of fun. The next big thing I want to master is natural dyeing.” And we have no doubt she will! MODERN MAKING Many crafters have dreamt about making the leap from hobby to career, but for Karen it
a good read
was something she describes as “a slow, organic process.” She gave up her career as a teacher after having her second son, Noah, and after her third child, Ruby, was born and in nursery, Karen set up her own business, Blueberry Park, curating and selling a range of handmade products from around the UK. “I was very drawn to the beautiful textiles out there,” says Karen, “in particular hand-printed ones. Surrounded by all of these beautiful fabrics, I started to play around with it more
"WABI-SABI IS A JAPANESE ETHOS, ALL ABOUT SEEING BEAUTY IN THE IMPERFECT – SOMETHING I AM REALLY DRAWN TO. MY BOOK EMBRACES HAND-STITCHING." and more. It re-ignited my latent passion for textiles and sewing – I was creating more and more, so much so that I eventually decided to go in the direction of solely working on my own creations, instead of those of others!” Karen’s website, www.karenlewistextiles. com, is packed with her stunning screenprinted fabric panels, as well as all the tools you’ll need to try the technique yourself and print your own designs to stitch into modern, individual quilts and home makes (advance
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Photos left, top right and bottom right: From Wabi-Sabi Sewing by Karen Lewis, published by F+W Media; Other photos: www.instagram.com/karenlewistextiles
Karen hopes to get us all mixing prints with her new book, Wabi-Sabi Sewing, which celebrates "textured fabrics and hand-stitching. It’s about about not being stuck on everything matching."
warning: you’ll want it all!). But what inspires her prints? “Everything!” she laughs. “I see patterns everywhere, from the drain covers in the street, to the shadows on the ground. I have to carry my sketchbook and phone with me wherever I go, so I can take quick snaps or quickly doodle something that has sparked off a design idea.” Karen’s latest project is Wabi-Sabi Sewing, a gorgeous new book that will leave you itching to get crafting simple things for your home. “Wabi-sabi is a Japanese ethos, all about seeing beauty in the imperfect – something I am really drawn to,” reveals Karen. “I have always been a fan of textures in textiles, ceramics and, well, anything! My book embraces textured fabrics and handstitching. It’s about not being stuck on everything matching; highlighting any shortcomings rather than trying to disguise them. Having said that, the patterns I’ve designed can be done just as easily by the ‘matchy-matchy brigade’ as by those wishing to create with more freedom. I’m excited to see everyone’s take on the designs and what different people come up with.” The book includes a collection of 20 sewing projects for home decor and accessories, which celebrate the beauty in the ordinary and imperfect. Trying to pick just one project to work on is impossible –
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a good read
this is most definitely a book you’ll enjoy working your way through. A NEW AUDIENCE Sharing her designs with other crafters has always been important to Karen, whether it’s through her books (including her debut title, Screen Printing at Home) or in magazines. “It is one of the joys of creating patterns – to see the direction other people take them. It’s always such a surprise and so inspiring!” And that’s the beauty of a craft like quilting – it’s the perfect medium to inject your own style and personality, without having to follow a strict agenda. With an increasing number of crafters embracing the opportunity to create their own unique keepsakes, or make them as cherish-forever gifts for their loved ones, quilt-making is set to grow and grow. Karen is thrilled that an increasing number of people are turning to this traditional craft and reinventing it in their own way. “I think the modern quilting movement has really
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grown, possibly born out of the quilt designs being readily seen in other channels – you only have to flick through a lifestyle or interiors magazine to see quilting patterns used as backdrops for all sorts of things,” she says. “Also, we live in this digital age where we can find out things very easily and reach
"THERE’S SO MUCH I LOVE ABOUT MY JOB. I LOVE MEETING SO MANY CREATIVE, LIKE-MINDED PEOPLE FROM ALL OVER THE WORLD AND TRAVELLING TO TEACH." people all over the world in an instant – something that makes the growth so rapid.” The popularity of Karen’s Instagram page goes to show just how many fellow fabric enthusiasts are out there, and more excitingly, the sheer volume of those people she is able engage with every day!
HOME AND AWAY With so much on her plate, it’s no surprise that Karen reveals “there’s no such thing as a typical day for me! We live on the edge of Leeds, surrounded by beautiful Yorkshire countryside, so most of my days start with taking my Cockerpoo, Scout, out for a walk. I find our morning walks so invigorating and they allow my mind to slowly open up before the day begins, which is very important. The only other constant in my day is my 11am coffee! I have one coffee a day – it has to be strong – and the ritual of making it, grinding up the beans and working the machine, is another mindfulness moment for me. Depending on what I am working on, sometimes I need silence, but most of the time I listen to podcasts or play a boxset in the background. I love that my job allows me to watch TV shows – I’m a big fan, although I must admit that I miss most of what is going on, as my head is normally down at the sewing machine or printing table!” As well as all of this, Karen travels around
Photo centre left: From Wabi-Sabi Sewing by Karen Lewis, published by F+W Media; Other photos: www.instagram.com/karenlewistextiles
Top right: Karen's Instagram feed (@ karenlewistextiles) is a treasure-trove of inspiring projects, ideas and fabrics – and adorable snaps of her dog, Scout. Below centre: Sketching out her Tinsel motif, ready to be hand-printed on Kona cotton panels.
Above: Fill your space with your own printed fabrics with Karen's beginner-friendly first book, Screen Printing at Home, which covers stencilling and screen filler print techniques. Right: One of Karen's bespoke commissions.
the world to attend various quilt shows and share her skills. She runs workshops at the hugely popular QuiltCon (www.quiltcon.com) and Sewtopia (www.sewtopia.com) in the USA and The Festival of Quilts (www. thefestivalofquilts.co.uk) in the UK. If that wasn’t enough, she’s also a founding member of The Thread House (www. thethreadhouse.co.uk) where, along with fellow quilt designers Jo Avery and Lynne Goldsworthy, she sells drop-dead gorgeous quilt patterns and runs creative and friendly quilting retreats – heaven on earth for crafters looking to expand their skills, be inspired and make new friends. Currently designing more screens for her hand-printed work, finalising her next Robert Kaufman collection and working on several magazine commissions – including her first Block of the Month (BOM) – there’s really no stopping Karen. But you’d be wrong if you thought she took any of her success for granted. “There’s so much I love about my job,” she smiles. “I love meeting so many creative, like-minded
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people from all over the world, travelling to teach and not being stuck in an office. I’m very proud of the reputation I have built, which has allowed me to work with lots of talented people and to see the amazing things others have created with my fabric and patterns. I’m grateful for it every day.” The future is looking bright for Karen, and she’s quite happy to just go with the flow. “I’m very happy with what I currently do and hope to continue doing more of it. Most of my journey has been very organic and a lot of what I have achieved, I haven’t necessarily set out to do,” she says. “I like to keep an open mind, to be able to take up opportunities and challenges that present themselves.” And for crafters looking to dip their toe into the world of quilt-making, she also recommends keeping an open mind. “Don’t be afraid of getting it wrong,” Karen shares. “There is no getting it wrong, just happy accidents. Don’t get het up about everything having to be precise. Just take the wabi-sabi approach!” See more at www.karenlewistextiles.com
GETTING STARTED Karen's book, Wabi-Sabi Sewing (£15.99, F+W Media), includes 20 projects to sew for your home inspired by the Japanese aesthetic philosophy wabi-sabi, which celebrates beauty in the ordinary and imperfect. See more at www.sewand so.co.uk, and turn to page 67 to make a hexagon cushion from the book.
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Photo bottom right: Wabi-Sabi Sewing by Karen Lewis, published by F+W Media; Photos top: www.instagram.com/karenlewistextiles
a good read
! W NE
Winter
AVAILABLE
Wonderland
NOW!
collection
Featuring a collection of 6 fabulous fabrics in a palette of pretty pastel tones, perfect for creating delightful decorations s, gifts and garments for Christmas!
EE THE
MPLETE THREADER
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MPANI N
cover story Personalise a journal, sketchbook or notepad with Jennie Jones’ cover ready to ill with ideas (and cute stationery!).
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not book cov r 01
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YOU WILL NEED
CUTTING OUT
Q Outer fabric: 1 fat quarter Q Lining fabric: 1 fat quarter Q Binding strip: 20cm (8in) Q 2oz wadding: 40x30cm (16x12in) Q Medium-weight iron-on interfacing: 70x90cm (27x35in) Q Matching thread Q Basic sewing kit
Step one From the outer fabric cut: Outer cover: one 39x28cm (153⁄8x11in). Front inner pocket: two 18x28cm (71⁄8x11in). Back inner pocket: two 18x28cm (71⁄8x11in). Step two From the lining fabric cut: Lining: one 39x28cm (153⁄8x11in). Large pocket: one 18x42cm (71⁄8x16½in). Small pocket: two 18x12cm (71⁄8x4¾in). Triangle pocket: one 16x16cm (63⁄8x63⁄8in).
FABRICS USED The fabrics used are from the Altitude collection by Pippa Shaw for Dashwood Studio. Available from www.purple-stitches.com
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MAKINGTHE POCKETS Step one Press the interfacing to the wrong side (WS) of all fabric pieces. Step two Fold the large pocket fabric piece in half widthways with WS together. Press and then topstitch along the folded edge. Step three Pin the folded large pocket to one of the main fabric front inner pocket pieces. Step four Stitch in place along the two sides and the bottom edge of the pocket. 01 Step five Pin together the two small pocket rectangles WS facing, aligning raw edges, then pin the binding strip along the top edge right side to right side (RS), aligning raw edges. 02 Step six Stitch the binding in place then fold the binding over to the WS, encasing the raw edges, and topstitch in place. Step seven Sew the small pocket to one of the main fabric front inner pocket pieces along the two sides and the bottom edge of the pocket.
Step eight Fold the triangle pocket diagonally WS facing and press. Topstitch along the folded edge. Step nine Sew the triangle pocket on top of the small pocket along the left and bottom edges. 03
MAKING UPTHE INNER POCKETS Step one With RS facing, pin one back inner pocket piece to the reverse of each of the constructed pocket pieces. Step two On the side with the large pocket, stitch along the left side. For the side with the small and triangle pockets, stitch on the right. Step three Open out and press the seam to the side without the pockets. Refold along the seam and press to flatten from the RS. 04 Step four Pin the assembled inner pockets to the lining fabric piece, with the back of the inner pockets facing the RS of the lining piece. Step five Sew along the top, outer side and bottom edges. Leave the inner sides open. 05
ATTACHINGTHE OUTER Step one Place the outer fabric piece on top of the inner book, with RS facing the RS of the pockets. Step two Sew around the outer edge, but leaving a turning gap along one edge. Step three Turn RS out and fill with wadding cut to the correct size. 06 Step four Slip stitch the opening closed.
seaside shades
Photo from Wabi-Sabi Sewing Š 2018, Karen Lewis, SewandSo, an imprint of F&W Media International
Spend an afternoon immersed in hand-stitching with Karen Lewis’ hexie cushion in coastal blue hues. Bliss!
patchwork cushion YOU WILL NEED
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Q Main fabrics: a mixture of fabrics measuring 60x112cm (24x44in) in total, for the cushion front Q Backing fabric: 38x76cm (15x30in) Q Binding fabric: 6x76cm (2½x30in) Q Wadding: 46x64cm (18x25in) Q Cushion pad: 35x50cm (14x20in) Q Stranded cotton, for hand quilting Q Matching thread Q Basic sewing kit NOTES Q Use a 1.5cm (5⁄8in) seam allowance. Q Download the templates from www.simplysewingmag.com/ downloads Q The finished cushion is approx 36x56cm (14x22in).
CUTTING OUT Step one From the main fabrics cut 128 squares measuring 6.5x6.5cm (2½in) each, for the hexagons. You can refer to the photograph to see how many of each shade to use or choose your own pattern. Step two From the backing fabric cut two 38x38cm (15x15in) squares. Step three From the binding fabric cut two strips 6x38cm (2½x15in) each.
MAKING THE HEXAGONS Step one Download and print out the template page seven times to give you enough hexagons to make the whole cushion front. Step two Cut out each hexagon carefully along the lines. You only need 128 hexagons for this project so put the remainder aside for spares or to use for future projects. Step three Pin one paper template centrally onto the wrong side (WS) of one of the fabric squares you cut from the main fabric. Step four Fold the edges of the fabric over on top of the paper template all the way around to make the hexagon shape. Finger press to create neat, crisp edges as you go. Step five Tack the fabric to hold the folds in place. You can do this by just stitching through the folds at each angle of the hexagon, as this make it easier to remove the papers when you have finished. Alternatively, you can stitch through the fabric and the paper. 01 Step six Move the piece around as you tack, folding and stitching each side by turn. 02 Step seven The fabric should completely encase the paper template with no raw edges showing at the sides or front. Step eight Make 128 hexagon shapes in the same way. Press the pieces but do not remove the papers yet.
JOINING THE HEXAGONS Step one Arrange the hexagons into eight
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vertical rows of nine alternated with eight rows of eight as shown. 03 Step two Place the top two hexagons from the first row right sides (RS) facing, aligning the edges. Sew the two pieces together along one edge by oversewing with a whip stitch. Try to catch just a few threads of fabric using very small stitches, making sure you don’t stitch through the paper template. Don’t pull too tight, just enough to ensure the edges meet with no space between. 04 Step three At the end of one side, knot the thread on the back, trim and open out the two hexagons. Join the next hexagon in the same way, and so on to complete one row. Step four Repeat this to complete each of the rows then arrange them in the desired order, remembering to alternate long and short rows. Step five Sew each row to the next, using whip stitch. You will find that you have to bend and contort the pieces a little as you join the rows. Step six Press the whole cushion front and then carefully remove all the paper pieces. You don’t need to remove the tacking threads unless they show through on the right side.
QUILTING THE FRONT Step one Place the pieced cushion front RS up on top of the wadding and tack together. Step two Quilt together as desired. The design shown is quilted using random horizontal lines
in different colours of stranded cotton. Step three Once quilted, trim the edges so the cushion front measures 38x56cm (15x22in).
BINDING THE CUSHION BACKS Step one Place one binding strip RS together with one edge of one of the cushion back pieces and stitch together. Step two Turn the other long edge of the binding strip under by 1.5cm (5⁄8in) then flip it over to the WS of the cushion back and hand or machine stitch into place. Step three Repeat this to bind one edge of the other cushion back.
ASSEMBLING THE CUSHION Step one Place the cushion front RS up with the two cushion backs RS down on top, matching raw edges so they overlap in the centre. Step two Sew together along all four sides. Step three Clip the corners to reduce bulk then turn RS out and insert the cushion pad to finish.
This hexagon cushion project is one of 20 simple home makes in Wabi-Sabi Sewing by Karen Lewis, published by SewandSo, £15.99. See more at www.sewandso.co.uk
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THE KNITTING & STITCHING SHOW ALSO TAKES PLACE IN DUBLIN 8 - 11 NOVEMBER 2018 AND HARROGATE 22 - 25 NOVEMBER 2018
take the cake Transport home-baked treats in Anna Alicia’s simple carrier. It’s a piece of cake to make!
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YOU WILL NEED
CUTTING OUT
Q Outer fabric: 100x44cm (40x18in) Q Lining fabric: 79x44cm (32x18in) Q Matching thread Q Basic sewing kit
Step one From the outer fabric cut: Bag outer: 79x44cm (311⁄8x173⁄8in). Handles: two 37x9cm (145⁄8x35⁄8in). Step two From the lining fabric cut: Bag lining: 79x44cm (311⁄8x173⁄8in).
NOTES Q The outer fabric could be quilting fabric or a medium-weight canvas or linen. Q The lining fabric should be sturdy to give your carrier some structure – canvas is ideal for this. Q The seam allowance is 1cm (3⁄8in) unless otherwise stated.
MAKING THE HANDLES Step one Lay one of the handle pieces right side (RS) down on your work surface. Fold the longer edges in wrong sides (WS) facing so they meet in the middle, then fold the strip in half so that all raw edges are enclosed. Pin along this edge. Step two Sew along the pinned edge, about 2mm (1⁄8in) in from the edge. Topstitch along the folded long edge for added durability. 01 Step three Repeat with the other handle fabric piece to make the second handle.
ASSEMBLING THE CARRIER Step one Lay the bag outer piece RS up on your surface. Along one of the shorter edges, measure 13cm (5¼in) in from each side and mark. Step two Place one of the handles on one of the shorter edges of the outer fabric where you have marked, aligning raw edges. Repeat this at the other short edge with the second handle. Step three Lay the bag lining on top of the bag outer RS facing and pin around all edges. 02
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Step four Sew all the way around the carrier to join the lining to the outer fabric, leaving a 5cm (2in) turning gap along one of the longer edges. Step five Trim the corners and then turn the carrier the right way out through the turning gap. Fold the raw edges of the turning gap to the inside and press. Step six Lay the carrier out with the outer facing upwards. Fold both short edges over by 18.5cm (73⁄8in) so that the outer fabric is RS to RS and there is a gap in the centre of approx 5cm (2in), then pin into place. 03 Step seven Stitch along the sides, removing the pins as you sew.
FINISHING OFF Step one Turn it the right way out and press. Step two Sew all the way around the edges of the carrier to give the bag structure. 04
perfectly imperfect Art Gallery Fabrics’ petal-motif quilt mixes raw edges, clashing prints and freestyle stitching for a rustic look.
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YOU WILL NEED
CUTTING OUT
Q Ten fabrics for the strip pieced layer: Q Fabric A: 115x112cm (46x44in) Q Fabric B: 115x112cm (46x44in) Q Fabric C: 115x112cm (46x44in) Q Fabric D: 70x112cm (28x44in) Q Fabric E: 115x112cm (46x44in) Q Fabric F: 115x112cm (46x44in) Q Fabric G: 70x112cm (28x44in) Q Fabric H: 70x112cm (28x44in) Q Fabric I: 100x112cm (40x44in) Q Fabric J: 50x112cm (20x44in), Q Overlay fabric : 320x112cm (126x44in) Q Backing fabric: 4.5mx112cm (5ydsx44in) Q Binding fabric: 30x112cm (12x44in) Q Wadding: 220x220cm (87x87in)
The quilt is made from two layers: the strip piece layer, and the top overlay layer made with HSTs. These are pieced separately and quilted together. The top overlay layer is then cut away using the template. When cut away, a portion of the strip piece layer will be seen through the petal shapes. Step one From each of Fabric A, B, E, F cut: Medium strips: five strips 5½inxWOF. Short strips: five strips 5½x20in. Step two From Fabric C, cut: Medium strips: four strips 5½inxWOF. Short strips: five strips 5½x20in. Step three From each of fabric D, H and I, cut: Medium strips: three strips 5½inxWOF. Short strips: three strips 5½x20in. Step four From Fabric G, cut: Medium strips: two strips 5½inxWOF. Short strips: two strips 5½x20in. Step five From fabric J, cut: Block squares: six squares 6½x6½in. HSTs: six squares 67⁄8x67⁄8in. Step six From the overlay fabric cut: HSTs: six squares 67⁄8x67⁄8in. Block squares: fourteen squares 6½x6½in. Upper block rectangles: two pieces 28½x24½in. Lower block rectangles: two pieces 28½x24½in. Centre block rectangles: two pieces 40½x32½in. Step seven From the binding fabric, cut eight strips 1½inxWOF.
FABRICS USED The fabrics are from Flower Child by Maureen Cracknell for Art Gallery Fabrics. www.artgalleryfabrics.com NOTES Q Use a ¼in seam allowance. Q Download the template from www. simplysewingmag.com/downloads Q HST = half square triangle. Q WOF = width of fabric. FINISHED SIZE Approx 203x203cm (80x80in).
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MAKING THE OVERLAY LAYER MAKING THE HSTS Step one Place one Fabric J HST square and one overlay fabric HST square right sides (RS) together. Draw a line diagonally across one of the squares. Step two Stitch a scant ¼in seam either side of the drawn line. Step three Cut along the drawn line. Step four Press the seams of each towards Fabric J. Step five Trim the points to make two HSTs. Step six Repeat the same process until you complete 12 HSTs. 01
MAKING THE TRIANGLE BLOCKS Step one Arrange six of the HSTs, seven of the overlay fabric block squares and three of the fabric J block squares and stitch together as shown. This is the upper triangle block. 02 Step two Repeat the same process in order to create a second block, this time with the triangles pointing upwards as shown. This is the lower triangle block. 03
MAKING THE BLOCKS Step one Stitch the two upper blocks RS together along the short edges. Step two Stitch this to the left edge of the upper triangle block with RS together. Step three Stitch the two lower blocks RS
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together along the short edges. Step four Stitch this to the right edge of the lower triangle block with RS together. 04 Step five Stitch together the two centre block rectangles RS together along the short edges. Step six Stitch the upper block, central block and lower block RS together in the order shown to make one large piece. 05
MAKING THE STRIP PIECED LAYER JOINING THE STRIPS Step one Stitch one fabric A medium strip RS together to one fabric A short length strip at the short ends to make one long strip. Repeat this with the three medium and three short fabric A strips to make four long strips in total. Step two Repeat this process with four medium and four short length strips in fabrics B, C, E and F to create four long strips. Step three Repeat this process with two medium and two short length strips in fabrics D, G, H and I to create two long strips.
ASSEMBLING THE STRIPS Step one Take one fabric D short strip and stitch it RS together with one fabric I short strip from fabric I, as shown in the diagram. 06 Step two Take the one fabric H short strip and stitch it to the top right of the fabric I strip from the previous step as shown. 07 Step three Take one fabric C short strip and
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stitch it to the top left of the fabric D strip from the previous step. 08 Step four Take one fabric E medium strip and stitch it to the top right of the fabric H strip from the previous steps. Step five Take one fabric B medium strip and stitch it to the top left of the fabric C strip from the previous steps. 09 Step six Take one fabric F medium strip and stitch it to the top left of the fabric E strip from the previous steps. Step seven Take one fabric A medium strip and stitch it to the top left of the fabric B strip from the previous steps. 10 Step eight Continue to assemble in the same manner using the long length strips from fabrics: A, B, C, D, E, F, G, H and I, following the diagram for the fabric order. 11
ASSEMBLING THE QUILT Step one Cut the backing fabric across the width from selvedge to selvedge then join these two pieces RS together at the selvedges to make one larger piece. Step two Place the backing fabric RS down with the wadding on top then the strip pieced layer RS up on top, positioning it centrally. Step three Place the overlay layer RS up on top of this. Step four Pin the four layers together, then tack them together to secure.
QUILTING THE LAYERS Step one Download and cut out the petal template then draw around it on top of the overlay layer, following the diagram for the positioning of each of the petals. 12 Step two Machine or hand quilt along the traced lines for each petal and then, starting at the centre, quilt the rest of the quilt in whatever pattern you prefer.
CUTTING THE PETAL SHAPES Step one Using a small pair of scissors, cut out the insides of the petals on the overlay layer only, leaving approx 1â „8in inside the quilted outlines. Take care not to snip into the fabrics underneath as you cut.
BINDING THE QUILT Step one Trim the excess backing and wadding level with the quilt top edges. Step two Stitch the binding strips RS together at the short ends to form one continuous strip. Press the seams open to reduce bulk. Step three Fold the strip in half lengthways with wrong sides (WS) together, and press. Step four Match the raw edges of the binding to the raw edges of the quilt and sew in place, mitring the corners as you go. Step five Fold the binding over to the back of the quilt and neatly slip stitch this in place, by hand, to finish.
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FRESH IDEAS WITH FABRIC
workshop FILLED SHAPES Every issue, our sewists present must-try projects and techniques.
FRESH IDEAS WITH FABRIC
workshop LEARN THE TECHNIQUE FILLED SHAPES Gorgeous padded hangings, filled bunting and dinky shaped cushions always look lovely and are the perfect speedy summer makes! There are lots of simple techniques, tricks and tips you can use to make your stuffed hangings and ornaments beautifully smooth and even. CHOOSING THE RIGHT FABRIC Curved edges, sharp corners and narrow shapes can be a challenge, not only for machine sewing but for evenly padding the shape, too. Choosing the most appropriate fabric for your project is key. A gorgeous, lightweight cotton or cotton lawn is perfect for smaller shapes. Finer fabrics turn right sides out more smoothly, with little bulk, which is ideal for narrow areas and tricky corners. Larger filled projects, such as shaped cushions, fabric toys and shaped doorstops, will always benefit from heavier-weight fabrics like calico, canvas, denim or twill. The larger shape means it can accommodate bulkier seams, and the heavier weight fabric will be more hard wearing so will last longer. MAKING YOUR FABRIC SHAPE One of the simplest tips for making smooth padded ornaments is to take your time at every stage, from tracing the templates and machine sewing, to finally filling with stuffing. Use your machine's handwheel to give you greater control when it comes to machining around tight corners and curves. You can also sink the needle and then lift the presser foot to pivot the fabric slightly before putting the presser foot back down to continue sewing. This will take time, but you'll be rewarded with beautiful curves and outlines. Trimming a narrow seam
To achieve a smoother finish, pull apart the fibres of the stuffing before you start filling your shape.
allowance around the machined outline will help to reduce bulk, and cutting V-shaped notches around curved edges is essential for smooth lines. Just take care when doing this not to cut through your machine stitches! EQUIPMENT Turning the fabric right side out is when you'll need a range of crafty tools to help tease out the corners and seams. The best items we found were artist's paint brushes, which have tapered handles, as well as tapestry needles, which are thicker, sturdier needles with a blunt tip. Fully supporting the fabric in your hand while you are carefully eking out seams and pushing narrow sections the right side out will help you to prevent pushing the seams open. If you have trimmed your seam allowances or cut additional notches cut into them, be careful not to pull the seam allowance through to the front when teasing out any tricky sections. FILLING YOUR DESIGN This stage is when your design will really take shape, and opting for a super-soft toy stuffing, such as polyester fibrefill, will help to give it a lovely and even look. To create a smoother finish, the stuffing should be shredded first – this is where the fibres are pulled apart before padding the shape. Shred the filling a little at a time, and pad narrow sections of the design first, using an artist's paint brush handle to gently push the stuffing to fill the shape. Make sure the handle is large enough so it doesn't just pass through the stuffing. You'll be surprised at just how much stuffing your ornament will take, so have plenty to hand.
TOP 10 TIPS FOR PADDING TRICKY FABRIC SHAPES Follow these go-to hints and tips when making your filled shapes. The finished padded shape will end up being smaller than you think once sewn, so bear this in mind if you're designing your own.
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Trim the seam allowance down around the stitched edge to help to reduce bulky seams.
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Choose a straight edge or a smooth, curved side to position the turning gap. This will be a lot simpler to slip stitch together after stuffing. The opening for turning the fabric right side out should measure at least 5-7cm (2-3in). A small opening will definitely make the task a lot trickier than necessary.
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Making V-shaped notches around curved edges will help to keep them smooth and lump-free.
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A tapestry needle is perfect for teasing out tricky corners and shapes. The blunt tip means it won't damage your fabric or stitches. The handles of artist's paint brushes are perfect for encouraging corners to turn the right way out. They are tapered, which is ideal for smaller sections. Crochet hooks and knitting needles are another useful option.
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Always support the fabric in your hand when teasing out fabric edges and corners – this will help to avoid pushing seams open and fraying.
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Keep the toy stuffing smooth by shredding and separating it before filling your shape, and by using a small amount of stuffing at a time.
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There are lots of varieties of toy stuffing available. Check the manufacturer's guide, as there are many to choose from. Polyester is the most popular, but there are also washable, organic and synthetic options and some may not be suitable for babies and toddlers, so check first.
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FRESH IDEAS WITH FABRIC
workshop Making hanging decorations FILLED SHAPES 01
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YOU WILL NEED To make one shape: Q Cotton fabric: 20x30cm (8x12in) Q Polyester toy filling Q Twine, for hanging Q Stranded cotton, for the seahorse Q Matching thread Q Basic sewing kit
CUTTING OUT Step one Download, print and then cut out the template for the seahorse or starfish. Step two Cut your fabric into two pieces measuring 20x15cm (8x6in). Trace the template on the wrong side (WS) of one of these pieces. Step three Pin the two pieces of fabric right sides (RS) together. 01
MATERIALS USED Q The fabrics used are from the Katie Jane collection by Makower. For stockists visit www.makoweruk. com. Multi Floral. Ref: 1903/T; Rose Turquoise. Ref: 1901/T; Daisy Pink. Ref: 1907/P. Q Trimits Hi-Loft Polyester Supersoft Toy Stuffing, from www.wool warehouse.co.uk
SEWING THE SHAPE Step one Select a slow speed on your machine to help control your stitching and stitch along the drawn outline, leaving a turning gap on one side. Step two Trim the fabric to leave a narrow seam allowance of about 5mm (¼in). Step three Using a sharp pair of embroidery scissors, make a series of V-shaped notches around the curved edges, including the narrow nooks and crannies of the seahorse. 02 Step four Turn the shape RS out. Take your time to do this as the notched seam allowance can easily be pulled through to the front. 03
NOTES Q Download the templates from www.simplysewingmag.com/ downloads Q Use the tips on the previous page when filling your shape.
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FILLING THE SHAPE Step one Take a handful of toy stuffing and shred the fibres to separate and smooth out any lumps
and clumps. Feed and push the stuffing into the shape using a paint brush handle to help you, starting with the smaller sections. Smooth the stuffing together with every handful. 04 Step two With the narrow sections padded, fill the rest of the shape with stuffing, smoothing each layer to reduce any lumps and bumps. When the shape is lovely and firm, you can slip stitch the opening together. Keep your slip stitches small – just 3mm (1⁄8in) in length – and pull the thread firmly to close the gap. The stuffing will want to escape, so simply push it back through the opening with the paint brush handle. 05 FINISHING OFF Step one For the seahorse, embroider the eyes as French knots. Knot the stranded cotton and pass the needle through the fabric seam, and out through to the front in position. Work your French knot and take the needle back through to the other side. Make the second French knot, pulling the thread firmly so that it's cushioned by the stuffing. Secure by weaving the thread back and forth through the seam allowance. 06 Step two Hand-stitch a twine loop to the top of your shape for hanging.
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Sleepy ted With its own quilted bed, this tired teddy is all tucked up and ready for a bedtime story! Make one for your little sleepy head with Jo Carter.
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YOU WILL NEED
CUTTING OUT
Q Body fabric: 60x50cm (24x20in) Q Front ear fabric: 10x10cm (4x4in) Q Nose fabric: 6x6cm (3x3in) Q Quilt fabric: 30x50cm (12x20in) Q Bed fabric: 35x50cm (14x20in) Q Pillow fabric: 9x20cm (4x8in) Q Wadding: 35x50cm (14x20in) Q Two 9mm (3⁄8in) plastic safety eyes Q Stranded cotton, black Q Polyester toy filling Q Matching thread Q Basic sewing kit
Step one Download the toy templates from www.simplysewingmag.com/downloads Step two Print and cut out all template pieces. The templates include seam allowances where necessary and the arrows indicate the print or pile direction of the fabric. Step three When the pattern specifies to cut two or more of a pattern piece, after marking out half of the pieces the template needs to be turned over to mark out the remaining half so that the pieces are cut as mirror images. Step four Using an erasable fabric pencil draw around the pattern pieces onto the wrong side (WS) of the fabric and cut out the following: From the body fabric: Ear (back) – cut 2. Middle face – cut 1. Side face – cut 2. Back head – cut 2. Arm – cut 2. Leg – cut 2. Tummy – cut 2. Back body – cut 2. Tail – cut 1. From front ear fabric cut: Ear (front) – cut 2. From nose fabric cut: Nose – cut 1. From the quilt fabric cut: Quilt top 20x21.5cm (77⁄8x8½in).
FABRICS USED Shannon Solid Cuddle 3 in Camel. Christmas Twinkle in Snow Night, from Eat, Drink and Be Ugly by Moda. Kona Cotton Solids in Mocha by Robert Kaufman. Spectrum Solid in Antique White, from Makower. Spot On in Sky, from Makower. FINISHED SIZE Bear approx 28cm (11in) tall. Bed approx 19x30cm (8x12in). NOTE Use a 6mm (¼in) seam allowance unless otherwise stated.
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Quilt back 24x26cm (9½x10¼in). Quilt binding 22x6cm (8¾x23⁄8in). From the bed fabric cut: Front bed 20x31cm (77⁄8x12¼in). Back bed 20x32cm (77⁄8x125⁄8in). From the pillow fabric cut: Pillow 20x9cm (77⁄8x35⁄8in). From the wadding cut: Bed 35x25cm (14x101⁄8in). Quilt 25x25cm (101⁄8x101⁄8in).
MAKING THE FACE Step one Sew the top of the nose to the bottom of the middle face with right sides (RS) together. Close the dart at the top of the middle face. 01 Step two Sew one of the side face pieces to its corresponding side of the middle face with RS together. Avoid sewing into the seam allowance at the bottom of the nose and instead finish 6mm (¼in) from the edge of the fabric – this will avoid any puckering when turned RS out. Repeat to attach the other side face piece. 02
MAKING THE EARS Step one Place a front and a back ear piece together with RS facing and sew together around the curve. Step two If you are using cotton fabric, clip into internal curves and make notches around external curves, avoiding your stitching. We have used stretchy plush fabric so clipping is not necessary.
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Step three Turn RS out and tack the bottom edge closed to keep the raw edges level. Repeat to make the other ear. Step four With the front of the ear against the RS of the face and the raw edges aligned, tack into position where marked. 03
MAKING THE HEAD Step one Place the back head pieces one on top of the other with RS facing and sew together along the back from the top down for 4-5cm (15⁄8x2in) just to join them. 04 Step two In the side face pieces, make the smallest holes possible for the shank of the eye using the pattern marks for guidance. Step three Fit the eyes in place according to the manufacturer’s instructions. Step four With RS together, line up the dart at the top of the face with the central seam in the back head, and from this top point sew the face and back head together down one side. 05 Step five Return to the top point and sew the remaining side together. Step six Sew the centre front of the face together from the bottom of the nose to the neck edge.
MAKING THE BODY Step one With RS facing, fold one of the arm pieces in half and sew around the sides, leaving the top edge open.
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Step two Turn RS out and stuff, leaving the top 2-3cm (1-1½in) empty. Tack the open end closed. Repeat to make the other arm. Step three Make both legs in the same way. 06 Step four With RS facing, sew the tummy pieces together along the centre front. Step five With the legs against the RS of the tummy, raw edges aligned and the seamed side of the legs facing each other, tack them into position where marked. 07 Step six With RS facing, close the darts in each of the back body pieces. Place them one on top of the other and sew together from the bottom up as far as the dart only. Step seven Fold the tail in half and sew, leaving the end open, and place to one side. 08 Step eight With RS facing, line up the central seams at the bottom of the tummy and back body sections and, starting at this centre point, sew one side of the body together, moving the leg on the opposite side out of the way during sewing. Return to the bottom centre and sew the remaining side. 09 Step nine Check the arms are facing in the correct direction. Then with the underside of the arms against the RS of the body and the raw edges aligned, tack the arms into position between the notches. Step ten Sew the bottom of the head to the top of the body RS together. Line up the central seam in the bottom of the face with that at the
top of the main body and pin to ensure that the head will be straight. 10
ADDING THE TAIL Step one Turn the tail RS out and fit in place, raw edges aligned, above the dart in the back body. Sew the tail in position, finishing the seam just above the tail. Step two Sew the remaining back of the head together to leave a 6-7cm (2-3in) opening in the back of the body. 11 Step three As the ears, arms and legs are sewn directly into seams it is advisable to sew over the joins to make sure they are well secured to reduce the likelihood of them being pulled out. Step four Turn the right way out and stuff.
FINISHING OFF Step one Using black embroidery thread (sixstrand thickness), make a stitch down from the nose and then add a W-shaped mouth. Step two Sew some shaping between the eyes to bring them inwards. Bring the needle out at the lower inside of one eye, secure the thread with a few small stitches and then take the needle through the face to the other eye and back to the first eye, and then back again to the second. Don’t make the shaping stitches too small as they may pull and damage the fabric. Step three Pull lightly on the thread to draw the eyes together slightly, to give the face more
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character. Secure the thread, take the needle back into the head and out again at any point and then snip away the excess. 12 Step four Adjust any filling that has become disturbed and close the opening in the back of the body using ladder stitch or similar.
MAKING THE BED Step one Centre the quilt wadding on top of the quilt back WS, then place the quilt top RS up on top of that. Tack the three layers together.
Step two Quilt as desired then trim away excess fabric and wadding to the size of the quilt top. Step three Repeat to quilt the front bed, but this time just layer the wadding and front bed. 13 Step four With WS together, press the binding in half lengthways. With the binding and quilt RS together and raw edges aligned, sew the binding to the reverse side of the quilt. Step five Fold the binding over to the quilt front and topstitch close to the folded edge. Trim away the overhang at either side. 14
Add an appliqué or embroidered initial to your bear’s sleeping bag to personalise it.
Step six With RS facing up, place the quilt on top of the front bed so that the bottom edges are aligned and tack around the sides and bottom of the quilt to hold in place. 15
ADDING THE PILLOW Step one Press 1cm (3⁄8in) to the WS along the bottom long side of the pillow. Step two RS facing, position the top unfolded edge of the pillow along the top of the back bed with raw edges aligned and tack around the top and sides of the pillow to hold it in place. 16 Step three With the pillow side of the back bed against the front side of the quilt and the bottom edges aligned, pin then sew all around so that along the top only the previously tacked pillow and the bed are being stitched together, Clip the bottom corners. 17 Step four Turn the bed RS out so that the pillow and quilt are on the front bed. Stuff the pillow and then pin the bottom folded edge in place and topstitch to close. 18
See Jo Carter sewing her toys live on Sewing Quarter on Freeview 73 and Sky 687, at www. sewingquarter.com, or www.youtube.com/ sewingquarter
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Family run shop selling Brother sewing and embroidery machines, fabrics and machine embroidery threads. Closed Mondays. tina@caffle.co.uk
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An independent sewing store in Chapeltown, Sheffield, stocking a range of fabrics, including Michael Miller, Riley Blake and Tula Pink.
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QuiCk ProJect USE2FAT QUARTERS
chirpy chick Get scrap-happy with bright prints and colourful ofcuts to make Anna Alicia's cute bird bag for your little chickadee.
Fast fat quarter YOU WILL NEED
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Q Main fabric: 1 fat quarter Q Lining fabric: 1 fat quarter Q Appliqué fabric A: 20x15cm (8x6in), for the tummy Q Appliqué fabric B: 7x18cm (3x7in), for the feet and beak Q Felt: 4x2cm (2x1in), for the eyes Q Bondaweb: 25x25cm (10x10in) Q 6mm (¼in) cotton cord: 3m (3¼yds) Q Matching thread Q Basic sewing kit NOTES Q Use a 1cm (3⁄8in) seam allowance. Q Download the templates from www. simplysewingmag.com/downloads
CUTTING OUT Step one Download, print and cut out the templates. Step two From the main fabric cut: Bag outer: two rectangles 23x27cm. Step three From the lining fabric cut: Bag lining: two rectangles 23x27cm. Step four From the appliqué fabric A cut: Belly: one piece using the template. Step five From the appliqué fabric B cut: Beak: one piece using the template. Foot: four pieces using the template. Step six From the felt cut: Eyes: two pieces using the template. Step seven From the Bondaweb cut: Belly: one piece using the template. Beak: one piece using the template. Eyes: two pieces using the template.
ADDING THE APPLIQUÉ Step one Pin the Bondaweb pieces to their corresponding appliqué fabric pieces. Step two Lay out one main fabric rectangle right side (RS) up and position the belly piece so that the straight edge lines up with the middle of the bottom short edge of the rectangle. Position the beak so its tip overlaps the top edge of the belly. Step three Remove the pins, being careful to keep the Bondaweb in place, then press the shapes to fuse them. 01 Step four With a zigzag stitch in a contrasting colour, carefully sew around the edges of the shapes to secure.
INSERTING THE CORD Step one Turn the rectangle over and fold over a narrow triangle about 2mm (1⁄8in) wide and 4cm (15⁄8in) long at the top corners, then fold the triangle over again to hide raw edges. Pin and sew in place. 02 Step two Repeat for the other bag outer piece and the two lining fabric pieces. Step three Lay out the bag outer piece with the
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appliqué RS up and lay a lining piece on top RS together with the folded corners aligning at the top. Pin and then sew along the top edge. Repeat this step for the other bag outer piece and lining piece. Step four Fold the pieces so that wrong sides (WS) are facing and sew 1.5cm (5⁄8in) from the top edge on both pairs, creating a channel. Step five Cut two pieces of cord each 120cm (47¼in) long. Pin a safety pin to the end of one cord and use it to thread the cord through one of the channels and back through the channel of the other piece. Repeat in the opposite direction with the second piece of cord. 03
ASSEMBLING THE BAG Step one Sew around the wing pieces, leaving the straight edges unsewn. Turn the wings RS out and press. Step two Stitch around the feet pieces, leaving the straight edges unsewn. Turn the feet RS out and press. Step three Unfold both main fabric and lining pieces along the channel topstitching line. Step four Arrange the feet pieces pointing inwards and with the unsewn edges aligned with the bottom short edge of the appliquéd outer fabric piece. Step five In the same way, arrange the wings at the sides, pointing inwards with the unsewn edges lining up with the edges of the rectangle.
Step six Lay the other assembled outer fabric and lining piece on top RS down, so that the lining fabrics are facing each other and so are the outer fabrics. Step seven Pin around the edge, tucking the cords inside as much as possible. 04
ATTACHING THE DRAWSTRINGS Step one Take the ends of the right-hand set of cords and pin them in place along the bottom of the long edge of the outer fabric rectangles 2.5cm (1in) from the bottom short edge. The cords should be facing inwards. Step two Repeat with the other set of cords on the left-hand side. Step three Sew all the way around the edge of the fabric and cord sandwich, leaving a gap on both sides where the cord comes in and out of the channels. Ensure one of the gaps is approx 5cm (2in). This will be used as a turning gap.
FINISHING THE BAG Step one Use a zigzag stitch to sew over the cord where it comes out at the bottom of the bag, and sew back and forth to secure. Step two Turn the bag the right way out though the turning gap. Turn the raw edges to the inside and sew up the gap with slipstitch. Step three Use blanket stitch to sew the felt circles in place to make the eyes, ensuring you only sew through the outer and not the lining.
Your four-legged friend will be the most dapper dog at the park in The New Craft House's adorable bow tie.
Make in 1 Hour!
YOU WILL NEED Q Main fabric: 1 fat quarter Q Interfacing: 1 fat quarter Q 1 popper Q Tool to attach popper Q Matching thread Q Basic sewing kit NOTES Q Download the templates from www. simplysewingmag.com/downloads Q Use a 1cm (3⁄8in) seam allowance unless otherwise stated.
CUTTING OUT Step one Download and print all of the pattern pieces and cut them out. Step two From the main fabric cut: Bow tie front A: cut two. Bow tie front B: cut two. Bow tie strap C: cut two. Step three From the interfacing cut: Bow tie front A: cut one. Bow tie front B: cut one. Bow tie strap C: cut one.
MAKING THE BOW TIE Step one Interface one of each fabric piece. Step two Join the interfaced B and C pairs along the dotted line marked on the pattern pieces. Join the uninterfaced pieces in the same way. Step three With right sides (RS) together, place the bow tie front A interfaced piece with its corresponding uninterfaced piece and stitch around the outer edges. Leave one side of the arm unstitched as a turning gap. Step four Trim the seam allowance and clip into the curves. Turn RS out through the turning gap. Fold the raw edges of the turning gap to the inside and close with a slip stitch. Step five Repeat steps two and three with the bow tie front B pieces.
ADDING THE POPPER Step one Tie the bow tie and then place it around your pet’s neck. You don’t want it too tight, just so you can fit a few fingers behind it. Make a mark of the desired length and popper position. Trim the straps to the right length and finish the raw edge. Step two Use the tool to attach the popper. Step three If you don’t want to tie the bow tie each time, you could stitch through it to secure it in place.
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FRESH IDEAS WITH FABRIC
The guide
PinKing SheArs These cut a zigzag edge on fabric to neaten.
nd essential information, useful stitches and key sewing techniques on these pages.
MarKing pen Transfer markings to your fabric, then wash them out when finished.
Tape MeaSure
Pins
A flexible fabric tape measure will take accurate measurements.
Stainless steel pins with sharp points are best.
SheArs Keep a pair of sharp shears just for cutting out your fabric.
FabRic CliPs Use these instead of pins when sewing thicker fabrics.
MarKing PenCil Choose a colour that shows up on your fabric.
SmaLl SciSsors Use for snipping threads and cutting notches.
TaiLoR’s ChaLks Chalk temporarily marks fabric and can be easily brushed away.
ThiMble Wear to protect your fingers when handstitching.
Seam RipPer This sharp blade cuts through and unpicks stitches.
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FRESH IDEAS WITH FABRIC
The guide HeiGhT
HOW TO MEASURE YOURSELF ACCURATELY ALWAYS MEASURE YOURSELF BEFORE you choose a pattern size to cut out. The sizes do vary greatly from pattern to pattern, so it’s always best to measure yourself accurately and then refer to the pattern’s size chart to find your size. The chart will usually be printed on the pattern envelope or on the instructions inside. Measure yourself in your underwear and preferably in the bra you’ll be wearing underneath
your garment as this can alter the measurements slightly. Use a fabric tape measure as it’ll curve around your body well for accuracy. You can measure on your own if you stand in front of a mirror, but, for best results, ask a friend to help so they can check the tape measure is sitting in the right places. Make sure the tape measure sits snugly around you but is not pulled tight. Take the measurements shown in the diagram and note them down.
HOW TO USE A PATTERN Preparing your fabric and cutting out your sewing pattern accurately is just as important as the actual sewing. Wash your fabric before you begin as fabric can shrink and run. Once dry, press it well. PREPARING THE PATTERN Patterns often come with several options of different finishes so you may have more pieces than you need. The instruction sheet will tell you which pieces to use. Roughly cut out all of the pieces outside the lines then press the pieces using a dry iron on a low heat to remove the folds and creases. CUTTING OUT THE PATTERN Choose your size using your measurements and the size chart. Cut along the corresponding lines on your pattern. When you reach any fiddly curves, take care to cut along the correct size lines. CUTTING LAYOUTS Choose the correct one for the width of fabric you’re using, the
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size you’re cutting and the style of garment. Many patterns have more than one option (or view) and each one can have a different layout. CUTTING OUT Lay your fabric flat and smooth it out. Fold or place the fabric as shown on the cutting layout. Lay the pattern pieces in the order and right side or wrong side up as shown. Check to make sure that the grainlines on the pattern are parallel with the selvedges by measuring. Pin your pattern pieces carefully in place and cut around them through the fabric using a pair of dressmaker’s shears. TRANSFERRING MARKINGS The markings on the pattern pieces need to be transferred to the fabric. They’re really important for matching up fabric pieces later and for positioning elements such as darts and pockets. You can mark these with chalk, fabric markers, snips on the fabric, or with small tacking stitches.
Back WaiSt LenGth From the top of your spine at the base of your neck to your natural waist
Stand against a wall, barefoot, then measure from the top of your head to the floor
High Bust/CheSt Across the back, under your arms and above the bust
Bust Around the fullest part of your bust
WaiSt Your natural waistline, around the slimmest part of your waist
Hips Around the fullest and widest part of your thighs and bottom
PATTERN MARKINGS Pleats: These lines are matched Arrows: Grainline arrows are used up to create pleats on the cut to show which direction to pin the out fabric pieces. pattern on the fabric. The grainline runs parallel to the fabric edge.
Darts: These lines are for matching up to create darts within the fabric pieces.
Notches: Shown as triangles or small lines, these are marked on the edges and are mainly used for matching up pattern pieces.
CHOOSING AND BUYING FABRICS IT’S IMPORTANT TO CHOOSE the correct fabric for your pattern. Most patterns give suggested fabric types that will work best with the style of garment. Use this to guide you as some patterns need more drape, body or structure than others. Fabric can be made from natural fibres such as cotton, linen, wool and silk or synthetic fibres such as acetate, acrylic, nylon, polyester, rayon and viscose. All these fabric come in different weights, or thicknesses, which suit different garments. Lightweight fabrics are ideal for lingerie, nightwear and summer clothing, and include cheesecloth, chiffon, crepe-de-chine, georgette, lawn, muslin, organdie, organza and voile. Medium-weight fabrics, which work for dresses, shirts, trousers and childrenswear, include calico, cotton, crepe, dupion, linen, poplin and finer wool. Heavy-weight fabrics are used for garments or projects needing more strength, like coats, jackets, winter wear and bags. Canvas, corduroy, denim, tweeds, velvet and wool are all in this category. Some patterns require fabrics that are quite fluid and have a good drape to make them hang properly, such as a circle skirt or blouse. Synthetic or synthetic mix fabrics such as rayon, challis, chiffon or lightweight jersey have a better drape to them. Stretch and knit fabrics such as jersey and lycra are virtually crease free and comfortable to wear. They
can be bought in a variety of thicknesses and qualities depending on their use but are ideal for sportswear and casual clothing. Interfacing gives an extra layer of support to your fabric – for example, to stiffen facings and collars. Choose an interfacing that’s slightly lighter than your main fabric, and if you’re using a fusible (iron-on) option then always test it on a scrap of the fabric first as it can melt if the iron is too hot. Interfacing is available in different weights and as an iron-on (fusible) or sew-in version. With fusible interfacing, press the shiny side to the wrong side of your fabric. Tack sew-in interfacing to the wrong side of the fabric pieces around the edges. If you’re buying fabric off a roll (or bolt) then you’ll usually buy it by the metre. This is only the length of the fabric you’re buying – the width depends on the width of the roll. Fabrics are sold in standard widths, which vary according to their purpose – for example, dressmaking or quilting fabric generally comes in standard widths of 112cm (44in) or 150cm (60in). Curtain or soft furnishing fabric is normally 137cm (54in) wide and is really useful for bags and aprons as it’s thicker and stronger than dressmaking fabrics. The fabric requirements on the pattern instructions will tell you what length of fabric to buy, usually with two width choices. Some patterns, such as large circle skirts, can only be cut from the wider fabrics.
MACHINE NEEDLES
There are many diferent needle types and they vary by the shape of the point, eye and shaft thickness. Choose the correct one for smooth stitching.
UniVeRsal A great multi-purpose needle which can be used for woven fabrics and has a slightly rounded point for stitching knit fabrics, too.
ShaRps With a sharp point, these are for sewing very fine and delicate fabrics and neat buttonholes.
QuiLting This will pierce multiple layers whilst keeping straight stitches so it is ideal for patchwork and machine quilting.
LeaTher Ball PoiNt This needle has a more rounded point than the universal needle so you won’t get snags, ladders or holes. Perfect for knit fabrics.
This needle’s wedge-shaped cutting point is used to work strong seams on non-woven fabrics like leather, suede and vinyl.
StrEtch JeaNs A strong needle, ideal for stitching several layers of fabric or tightly woven fabrics like denims.
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Designed for sewing two-way stretch knits such as lycra and silk jersey. It prevents skipped stitches on fine knit fabrics.
TopStItch This has an extra-sharp point and eye, so thicker topstitching thread can be used. It’s perfect for straight stitching with thicker threads on any type of fabric.
Twin Used for parallel rows of stitching such as pintucks and hems.
ONCE YOU HAVE FINISHED stitching your seam, it’s best to press it open on the wrong side so it lies flat. Sometimes it’s better to press it to one side to reduce bulk but the pattern instructions will tell you this. Usually the seam allowances are left as they are as they help to strengthen the seam, but sometimes they cause too much bulk so they are trimmed to half their original width. If your fabric has a tendency to fray you should neaten the raw edges after you have worked the seam. There are several ways of doing this. To machine-finish them, set your sewing machine to the zigzag stitch then stitch close to the raw edge all the way along. The zigzag must be small enough to stop the fabric from fraying but large enough to enclose the bulk of the fabric. Practise a few lengths and widths before you begin. Alternatively, you can trim the raw fabric edges with a pair of pinking shears. If you have an overlocker then you can stitch, cut and finish the seams all in one process.
UK SIZE
US SIZE
FABRIC
60
8
Silks
70
10
75
11
80
12
90
14
100
16
110
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120
20
Lightweight fabrics Medium weight fabrics Medium weight fabrics Medium weight fabrics Heavy weight fabrics Upholstery fabrics/denim Heavy canvas
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FRESH IDEAS WITH FABRIC
The guide GLOSSARY
For a full glossary of sewing terms visit www.simplysewingmag.com
DraPe A term used to describe the way a fabric hangs under its own weight. Different fabrics have different drape qualities.
Ease The addition of extra fabric in a pattern to allow the finished garment to fit the body well.
EdgEsTitCh A row of stitching on the very edge of a garment, usually 2-3mm (1⁄16-1⁄8in) from the folded or seamed edge. Used to hold the fabric edge neatly in place.
FacIng This pattern piece is cut separately to stabilise and create a neat finish on the edge of a garment, such as the neckline.
fat QuaRter A term used to describe a cut piece of fabric often used for patchwork projects, usually measuring 46x55cm (18x22in).
FinIsHing/NeaTeNing raw EdgEs This is done to stop the fabric edges, particularly of a seam, from fraying. It can be done by machine zigzag stitch, using an overlocker or trimming the raw edge with pinking shears.
GraIn/GraInLine The lengthwise fabric grain, running parallel to the selvedge.
nap Fabrics like velvet, corduroy and fur have hairs or loops which all lie in one direction and are called the nap, or pile. When cutting out pattern pieces make sure the grainline arrow always runs in the direction of the nap.
NotIons Small tools or accessories used
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in sewing such as zips, fasteners, lace and buttons.
STITCH GUIDE Use these basic hand stitches to complete your home and dressmaking projects.
RigHt Side (rs) / WroNg Side (ws) The right side of the fabric, also called the ‘public’ side, has the design on it. The wrong side is the other side – this is usually a little duller or faded on plain fabrics.
Seam AllOwAnce The fabric between the raw or cut edge of the fabric and the seam is called the seam allowance. Your pattern will tell you the required seam allowance measurement. This is usually 1.5cm (5⁄8in) for dressmaking, but can vary.
SelVedge The finished woven edge of fabric, often with the fabric name printed on it. The grain runs parallel to this and the bias diagonally. Called selvage in the US.
StaYsTitChing A line of regular machine stitching usually worked 3mm (1⁄8in) inside the seam line, often used to stabilise curved edges to stop them stretching out of shape.
Tack/TacKing A line of temporary stitching used to hold fabric pieces together before machine sewing, worked in the same way as running stitch. Known as basting in the U.S.
TopStItcHing A line of stitching worked 5mm (¼in) from the folded or seam edge. Used to hold the seam in place and as a decorative finish.
UndErStiTcHing A line of stitching worked through the facing and seam allowance 3mm (1⁄8in) from the seam to stop the facing rolling to the outside of the garment. Understitching will not be visible on the outside.
LadDer StiTch Used to join together and close 2 3 5 two turned-under edges invisibly, such as on a dress lining or soft 1 toy. Bring the needle up at 1 on 4 one side of the seam, then in at 2 on the opposite side and out at 3, so the stitch is 3mm (1⁄8in) long. Push the needle back in the opposite side at 4 and out at 5. Repeat this to close the edges.
Slip StiTch This stitch is used most often for hems where you need to stitch 3 2 a turned-under edge to a flat 1 piece of fabric using small, almost invisible stitches. Bring the needle up at 1 on the turned-under hem then back in at 2 and out at 3. Make this horizontal stitch as small as possible so it can’t be seen from the front. Repeat this by making a vertical stitch back into the turned-under edge then continue in this way to complete the hem.
Whip StiTch Whipstitch is used to join the edges of two fabrics together, such as felt and other fabrics that don’t fray. With the right sides 2 1 together, bring your needle out at 1 on the front of the fabric, then over to the back of the other, and through and out at 2. Continue to work small stitches close together over the top of the two fabric edges.
RunNing StiTch This can be used to gather fabric and as a decorative stitch worked around the edge of a finished 4 3 2 1 project. Bring the needle out at 1, in at 2, then out at 3 and in at 4, and so on. Make the length of the stitches the same length as the gaps between them for an even finish. You can work several running stitches on your needle at once.
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IssUe 43
Make a 1940s-inspired tea dress, a boxy top, craft room storage, retro accessories and crocodile toy.
Sew a statement maxi dress, boho top, beach bag, girafe toy, pineapple doorstop and shibori blind.
Make a summer dress and top, Sew Over It’s silk cami, an everyday backpack and travel accessories.
IssUe 42
IssUe 41
IssUe 40
Stitch an occasion dress, sequin shrug and a clutch bag, plus bridal gifts, a satin skirt and a pig plushie.
Make an everyday pinafore, draft a tunic dress, sew stylish home updates and learn toy-making skills.
Sew a Peter Pan dress and jersey tee for spring, plus Easter gifts, gardening makes and a chick toy.
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Don’t miss it! Our September issue is packed with light and bright cover-ups for little people. Knit a busy bee cardie, beautiful bow jacket, stripey dress, quick dungarees, easy Fair Isle jumper and lots more!
%X NYWX e XLMW MWWYI MRGPYHIW â– 27 gorgeous patterns â– Fab gift ideas â– Quick and easy projects â– Expert it ng vice
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my favourite thing
jumpsuit joy If at first you don't succeed... take blogger Emmanuelle's try-it-and-see approach to creating the perfect jumpsuit. "One of my favourite things about sewing a garment is that ideas on how to transform, modify or combine features in different ways inevitably arise during the making process. The next sewing project is usually an iteration of the previous one, altered to be something new that comes closer to the design I have pictured in my mind. Sometimes I nail it, and other times I need numerous attempts before I can finally say, "this is the one!" My Tencel culotte jumpsuit definitely belongs in that second group. It began when I made Named’s beautiful Ailakki Jumpsuit pattern (www.namedclothing.com). From there, the modifications began – first with the drafting of different bodices, and then with the pairing of different trouser styles. I made
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up multiple versions of this jumpsuit, and some of them had differences so subtle my husband wouldn't even notice them. "Don't you see?" I would say. "This one has pleats in the front and back!” Eventually, the jumpsuit evolved into the version you see here, with a tie-neck halter top and cropped wide-leg culottes. I love this design. It has the fullness of a skirt with the practicality of pants, perfect for riding my bike. It can be worn as it is, or layered with a shirt underneath. The top can be tied behind the neck, or around the front for a cute bow-tie effect. It has numerous possibilities, which makes this version my favourite ever – for now, anyway. We'll have to see what the next one looks like!" See more at www.zoubizoubisou.com
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ISSUE FORTY SIX
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6 new LooKs to try TodAy!
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Dog bow tie
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