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IH NE C A M G IN W E S 0
N I W
for Kids! Toys to sew in a day
0 £5
FRESH IDEA
THFABRIC
ISSUE FIFTY TWO *T&Cs apply
NEW: DRESS + TOP!
new SerIeS!
EASY-SEW
PATTERNS IN SIZES 6-20
MAKE IT!
diy: ScaRf top + RufFle SkiRt
Infinity scarf Quilted slippers Make-up bags
Learn b a g-ma kin
g!
Everyday wardrobe staples to sew in a weekend SEW YOURSELF: Pashmina top Upcycled shirt Quilted oven mitts Baby towel
Create your own style
The Innov-is F420 sewing machine is designed to help you create your own style and includes a host of advanced features you’ll love. A wide range of decorative stitches, plus the ability to combine and memorise stitches, while the Square Feed Drive System gives smooth, even sewing on any fabric. You can even cut the top and bottom threads with the touch of a button. It’s a machine to nurture and expand your skills well into the future.
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For full details visit your www.brothersewing.co.uk or visit your local Brother stockist.
FRESH IDEAS WITH FABRIC Sewing isn’t just a hobby, it’s a journey. There’s always something new to delve into... Whether it’s learning how to make buttonholes, upcycling your wardrobe with some experimental stitches, or joining a dressmaking class – your adventure has only just begun. We’ve taken inspiration from places all over the world to create this colourful issue. Explore Texas with our cactus and taco-adorned bedroom makes, sew yourself some Parisian style with our chic ruffle skirt and head to London for the gossip from the new series of The Great British Sewing Bee. Let’s go!
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w to f o h n Leare a pair o6 mak ers, p2 slipp ISSUE FIFTY TWO
FRESH IDEAS WITH FABRIC
CONTENTS
Sew our T-shirt simple d top set,ress and p34
P16 BEDROOM BRIGHTS
grEat pAtterNs foR you
how To...
16 BEDROOM BRIGHTS 34 PATTERN: THE STAPLE TEE
29 KNOW YOUR: BUTTONS 49 EMBROIDERY: FEATHER STITCH
38 PATTERN HACK: RUFFLE SKIRT
Make a embellished infinity scarf
46 UPCYCLE: PASHMINA SCARF TOP
54 WORKSHOP: BUTTONS
51 REFASHION: TIE-WAIST SHIRT
Learn about different button types,
56 TRANSFORM: PATCHWORK SHIRT
how to attach them and how to
59 FAUX LEATHER ZIP POUCHES
make buttonholes
66 PATTERN: KITTY PINAFORE DRESS
93 SEWING GUIDE
70 KIDS: HOODED BATH TOWEL
Tips, techniques and
75 PARTY TIGER CUSHION PLUSHIE
a glossary
78 OVEN MITT AND POT HOLDER SET 83 SEWING RETREAT SUITCASE
87 PROJECT TEMPLATES
42
reAt BriTish SewIng Bee neWs! erieS 5 gossIp frOm thE judgeS Photo: BBC/Love Productions/Mark Bourdillon
Make tig er cushion s f or birthday kid's s, p75
SewinG for kids
56 38 46
win £620 WorTh of SewIng PriZeS!
Enter for your chance to win 3 dressmaking books worth £120 and a brand new Brother sewing machine worth £500!
This mon nth h we w invited tw wo very special litttle ladies to our ph hoto shoot; our Digittall E Editor ditor Zoe's da aughter (Eve) and y very own n mini-me (Bea). We had such h a blast! The studio was fulll off giggles, dancing and clapping wh hilst Eve expertly modelleed our Kitty Pinafore (p66) and Bea ran around in her hoooded d bath towel (p70). Do you lik ke sewi sew wing ffor children? If so, what do you make: dressingup outtfits, its, everyday d clothes, cl thes, soft toys orr acccessories? I'd love to hear from m you. Email me at simplys simply ysew sewing@immediate.co.uk wing@immediat k
Charlie e Moor Moo by, by Editor
BehInd the SceNes IN THE STUDIO WITH THE KIDS!
goOd readS & ideaS
E
N ACHIN WEIW NG M
for Kids! Toys to
sew n a day
S 00 £5
FRESH
A
ABRIC
SSUE FIF Y WO
NEW: DRESS + TOP!
EASY-SEW
PATTERNS IN SIZES 6-20 diy: ScaRf top + RufFle Sk Rt
Learn ba g-mak ing!
Everyday wardrobe staples to sew in a weekend SEW YOURSELF: Pashmina top Upcycled shirt Qu lted oven mitts Baby towel
GREAT SUBS OFFERS! P30 SAVE TIME, MONEY AND HASSLE WITH AN ANNUAL SUBSCRIPTION
51
* PAPER GIFTS ONLY AVAILABLE ON UK NEWSSTAND.
9 PINBOARD: Ideas, events, new fabric 14 WIN: SET OF DRESSMAKING BOOKS 15 WIN: BROTHER SEWING MACHINE 28 PIN UP: DIY LAMPSHADE KIT 32 COLUMN: SELKIE PATTERNS 42 THE GREAT BRITISH SEWING BEE 62 FEATURE: SEWING BEE SUCCESS 92 BACK ISSUES TO COLLECT 97 COMING UP NEXT MONTH 98 MY FAVOURITE THING
CONTRIBUTORS
Thanks to these clever crafters (and Joe Lycett)...
FRESH IDEAS WITH FABRIC
EDITOR Charlie Moorby SENIOR ART EDITOR Lisa Jones PRODUCTION EDITOR Michelle Grady TECHNICAL EDITOR Roisin McKenna DIGITAL EDITOR Zoe Williams PHOTOGRAPHY Philip Sowels and Jesse Wild PHOTOGRAPHY SEWING BEE BBC/Love Productions/Mark Bourdillon
Call 0117 300 8206 SENIOR ADVERTISING MANAGER Penny Stokes SENIOR SALES EXECUTIVE Tiffany Jackson CLIENT PARTNERSHIP MANAGER Beckie Pring
I
I feel hectic, but love.” e b n a c k “Wor to have a job I fortunate
“I love encouraging young people to try sewing clothing.”
I
SUBSCRIPTIONS DIRECTOR Jacky Perales-Morris SENIOR DIRECT MARKETING EXECUTIVE Kate Jones HEAD OF NEWSTRADE MARKETING Natalie Shearer NEWSTRADE MARKETING MANAGER Helen Seymour
Paul Torre, Karen Flannigan
CLAIRE-LOUISE HARDIE
Claire-Louise, aka The Thrifty Stitcher, runs sewing classes in London, is a freelance costumier, and has worked as a Sewing Producer on BBC’s The Great British Sewing Bee. Read about the machine that’s revolutionised her sewing on page 98.
ANGELA UMPLEBY
Angela always enjoyed making clothes for herself and her family. She’s been able to focus more on sewing since retiring from the NHS, selling at exhibitions and shows and taking commissions. Make her kid’s hooded bath towel on page 70.
PRODUCTION COORDINATOR Derrick Andrews 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
D
U
BY WILLIAM GIBBONS
“I believe in starting with a strong foundation in sewing.” FRANCESCA STERLACCI
Designer and author Francesca is the founder and CEO of the University of Fashion. Enter our giveaway to win her three new books, Draping, Sewing and Pattern Making, on page 14, and try her buttonholes masterclass on pages 29 and 54.
“The Bee is a a lovely, gen tle cuddly show. It was a lau gh.” JOE LYCETT
Comedian Joe Lycett has appeared on 8 Out of 10 Cats, Celebrity Juice, Never Mind the Buzzcocks and Would I Lie to You? and is the presenter of 2019’s Great British Sewing Bee. Joe, Esme and Patrick give us the low-down on the new series on page 42.
O
EDITORIAL TEAM simplysewing@immediate.co.uk SUBSCRIPTIONS TEAM simplysewing@buysubscriptions.com 03330 162 149
THURSDAY 21ST FEBRUARY 2019 No gift included? Ask your newsagent. Covergift may be unavailable overseas.
OTHER CONTRIBUTORS
Anna Alicia, Sarah Dawson, Jessica Entwistle, The Fold Line, Sarah Gane, Debbie von Grabler-Crozier, Kirsty Hartley, Debbie Ingle, Mollie Johanson, Minki Kim, Portia Lawrie, Lana Red Studio, Selkie Patterns Special thanks to: Nicky Gotobed
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COMPETITION RULES By taking part in one of our Competitions, you agree to be bound by these Competition Rules. Late or incomplete entries will be disqualified. Proof of posting (if relevant) shall not be deemed proof of delivery. Entries must be submitted by an individual (not via any agency or similar) and, unless otherwise stated, are limited to one per household. The Company reserves the right in its sole discretion to substitute any prize with cash or a prize of comparable value. Unless otherwise stated, the Competition is open to all GB residents of 18 years and over, except employees of Immediate Media Company and any party involved in the competition or their households. By entering a Competition you give permission to use your name, likeness and personal information in connection with the Competition and for promotional purposes. All entries will become the property of the Company upon receipt and will not be returned. You warrant that the Competition entry is entirely your own work and not copied or adapted from any other source. If you are a winner, you may have to provide additional information. Details of winners will be available on request within three months of the closing date. If you are a winner, receipt by you of any prize is conditional upon you complying with (among other things) the Competition Rules. You acknowledge and agree that neither the Company nor any associated third parties shall have any liability to you in connection with your use and/or possession of your prize. Competition open 24 January - 28 February 2019.
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Immediate Media Company Bristol Limited (company number 05715415) is registered in England and Wales. The registered office of Immediate Media Company Bristol Limited is at Vineyard House, 44 Brook Green, London W6 7BT. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Immediate Media Company Bristol Limited cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Immediate Media Company Bristol Limited a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk. Although every care is taken, neither Immediate Media Company Bristol Limited nor its employees agents or subcontractors shall be liable for loss or damage.
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IDEAS
INSPIRATION
ACCESSORIES
WEBSITES
EVENTS
STUFF
GOOD AS GOLD
Put your me-made glad rags on – it’s I AM Patterns’ third birthday, and they’ve released a capsule collection to celebrate! I AM Friendly's five chic patterns are dedicated to all the seamstresses that have supported I AM since the beginning (that’s you!), so it would be rude not to add them to our stash, right? Visit www.backstitch.co.uk
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LIGHTTOUCH Here’s a bright idea W
for your next crafty project: make a lovely lampshade for every room! It’s easy with Dannells wide range of DIY kits (we used one for the colourful cactus shade on page 28). From drum to hexagon, rectangle to tiered, they’ve got every style of shade covered – you can even make one from ribbon! All you need to do is add wallpaper or fabric (or ribbon or yarn for the ribbon shade kit) and follow the kit's instructions. Find the range at www.dannells.com
TwiCe as Nice Love wearing (and sewing) knits? You’ll love Friday Pattern Company’s two new patterns designed for stretch fabrics: the statementsleeve Adrienne Blouse, and the super-smart Joan Trousers – a comfy trouser-and-legging hybrid. Hello, office-ready secret pyjamas! Visit www.fridaypatterncompany.com
TOATEE
Yes, you may already have quite a few tees in your collection – but none like Paper Theory’s Kabuki Tee. This unique oversized woven top is designed for easy wearing and satisfying sewing, with a quirky angled kimono sleeve detail. Sewn in a breezy fabric such as linen or cotton lawn, it’ll be one of the comfiest tops you’ve ever made – and one of the most-complimented items in your wardrobe! www.papertheory.com
PRETTY QUIRKY
New at Alice Caroline for Spring/Summer 2019 is a whimsical new Liberty collection inspired by seven eccentric characters from across several decades. Liberty's English Eccentrics range includes 49 designs featuring new hand-drawn and painted artwork, alongside reworked archive prints dating as far back as the 19th Century. Its muses include King George IV, authors Roald Dahl and Virginia Woolf, biologist and botanical artist Marianne North, and iconic musician John Lennon, who are captured in a joyful array of prints with a sense of the pioneering, adventurous spirit shared by them all. See the collection at www.alicecaroline.com
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Add a little English quirkiness to your sewing with Liberty's new collection at Alice Caroline.
Pinboard Man up
Get started on sewing me-made menswear, from smart shirts and waistcoats to everyday jeans.
GREAT OUTDOORS Pick a timeless style and durable denim for jeans he'll get years of wear out of. The Fulford Jeans from www.threadtheory.ca
mini profile FRANCESCA STERLACCI Fashion designer, author and entrepreneur Francesca Sterlacci has been in the business for over 30 years, from launching her own label in 1980, to teaching at the prestigious Fashion Institute of Technology in New York. Most recently, she has revolutionised the way fashion is taught with her unique learning platform, www.universityoffashion.com, which offers online classes teaching every facet of fashion design and business, from pattern-making to product development. Having seen hundreds of aspiring designers turned away from fashion colleges each year due to either a selective admission process or quota, she "vowed to find a way to somehow bring high-level fashion education to them," and realised the exciting potential of new technologies after a move to Silicon Valley in 2004. "I began thinking about how to deliver fashion education, 21st-Century style," she explains. "I knew that if I could recruit the best teachers from prominent fashion schools and top fashion professionals, and produce the best-quality videos, that I could fulfill my mission: to preserve the craft and bring affordable fashion education to everyone." Since her first video in 2008, "thousands of people have accessed our website and that number continues to grow. Our subscribers include fashion industry companies, students and teachers, aspiring designers from around the world, and the ‘fashion curious.’"
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And now Francesca has introduced a new element to her forward-thinking teaching – three technique-filled books, Sewing, Pattern Making and Draping, for beginners. "The logical next step was to create books that went hand-in-hand with our step-by-step videos," says Francesca. "We believe in the importance of starting out with a strong foundation. In Draping, we include basics such as how to choose a dress form and the types of muslin or calico. In Pattern Making, we first teach how to measure a female body and provide body illustrations and charts, listing 107 measuring points. In addition to sewing techniques, Sewing covers the types of threads and needles, as well as buttons, interlinings, linings, underlinings and interfacings. I have always adhered to the adage; ‘you’ve got to learn the rules in order to break them'. For me, a successful designer is one who really understands all the processes." Find out more about Francesca's books at www.laurenceking.com, and turn to page 14 for a chance to win all three books, worth £120.
Francesca hopes to "preserve the craft of design and bring affordable fashion education to everyone."
SMART THINKING Have every smart occasion covered with McCall's 2447 pattern, with a waistcoat, tie and bow tie to make. £9.99 from www. sewingquarter.com IN THE HOOD Don't forget your little man, too! Two Stitches' unisex Charlie Hoodie is a comfy kids' classic with a geometric twist. £12.50, www. sewingquarter.com WHAT A CARD This stylishly minimalist card wallet design fits easily into a jeans pocket, and is great for using up denim fabric scraps. www. threadtheory.ca PERFECTLY TAILORED Try your hand at tailoring and stitch a versatile staple with this polished shirt design. All Day Shirt from www. oliverands.com
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Pinboard UNSUNGHERO We might not want W
to admit it, but the humble seam ripper is a sewing tool we just couldn’t live without. Thanks to these nifty little things (because, let's face it, we all have more than one!), we never have to share our wobbly stitching with the world. So, let’s give this unsung sewists’ essential the love it deserves with this cute laser-cut necklace, made by Becky Queen of Frocks. It’s time to wear our seam rippers with pride! Approx £22 from www.beckyqueen offrocks.com
SupEr SepArAtes Creating a me-made capsule wardrobe is top of our to-do list, so we're stocking up on versatile patterns we can mix and match. Sew House Seven's Nehalem Pant And Skirt is the ultimate wardrobe-builder – inspired by he traditional Thai fisherman’s pants worn by fishermen in Eastern Asia, this loose-fit style can be made casual or smart depending on the fabric you choose. Find it at www.sewhouse7.com
3 of the best CORAL CRUSH
Pantone's Colour of the Year 2019, Living Coral, has us longing for sandy beaches, golden sunsets – and these stylish accessories. 1. You'll be sitting pretty on this peachy pouffe; made in water and stain-repellent fabric, it's perfect for chilled outdoor gatherings in the summer. £69.99 from www.beanbagbazaar.co.uk 2. Inspired by the magical sunsets of Gili Air in Indonesia, these hand-dyed tassel pretties will give your look an effortless beachy vibe. Approx £26, www.madebyastrid.etsy.com 3. Bring a touch of five-star-resort chic to your home with this oh-so-luxurious plush velvet cushion cover. £46 from www.amara.com
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MADEFORMAKERS
In need of a little stitching motivation? Hang this cheery A4 print –ilustrated by Emma Rees of Dainty Forest and then digitally printed on premium uncoated paper – up in pride of place above your sewing or cutting table to remind you of your maker credentials. With its cute stork scissors, dainty buttons, thimble and candy-coloured threads, it’ll have you itching to get your own kit out to get creative with. Makers gonna make, after all! £13, www.andsotoshop.com
Pinboard FAR, FAR AWAY
We’re already dreaming of all the adventures we’ll have when the weather turns warmer, so there's no better time to add Elizabeth Olwen’s new collection for Cloud9 Fabrics, Faraway Places, to our stash. Inspired by her travels and her eternal wanderlust, it features a dusky palette that reminds us of summer sunsets. Find stockists at www.hantex.co.uk
go organiC Swap the sewing room for the kitchen – but not before stitching up a set of cute kitchen makes in Haerae’s cookingthemed prints! Emma’s Kitchen gives vintage kitchenalia motifs a modern twist with pots, pans, utensils and even fridges in retro pastel hues, printed on GOT's certified organic basecloth. For stockists visit www.hantex.co.uk
out & about
SKILLS, SHOWS & EVENTS 8 FEBRUARY - 2 JUNE
Swinging London: A Lifestyle Revolution. Discover the fashion, design and art of the iconic Chelsea Set designers of the 1960s, including Mary Quant. www.ftmlondon.org
10 MARCH
Make a piped box cushion. The Makery, Bath. Learn how to make a smart box cushion with contrast piping and a zip fastening at this four-hour workshop. www.themakery.co.uk
7-10 MARCH
The Creative Craft Show. SECC, Glasgow. Multi-crafters will love this varied show, with plenty of shopping and demos for knitters and stitchers alike. www.ichfevents.co.uk
14-17 MARCH
What's cooking? Kitchen accessories in cute retro prints, that's what!
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Sewing For Pleasure, The Creative Craft Show and Fashion, Embroidery & Stitch. NEC Birmingham. Get a combined ticket to visit three events for an inspiring craft-filled weekend. www.sewingshow.co.uk
FRESHPRINTS
When Liberty London calls, we answer – especially when it comes to fabric! Its #LibertyOpenCall to discover the next print design talent had a whopping 5.1K entries, and four winners were chosen via an online vote – Natasha Coverdale, Duncan Grant, Emma Hill and Catherine Rowe. Their stunning prints will be on the Liberty shelves in Spring/Summer 2019. Go to www.libertylondon.com WWW.SIMPLYSEWINGMAG.COM 13
win: trio of sewing books Win a complete set of dressmaking books from Laurence King worth £120. rand new to the shelves of dressmakers all over the world comes this must-have Techniques for Beginners series of books by Francesca Sterlacci (founder and CEO of the University of Fashion) and published by Laurence King. Draping, Sewing and Pattern Making provide invaluable resources for textiles beginners. The comprehensive, step-by-step guides take readers through the basic techniques of each discipline, before moving through to slightly more advanced projects. Useful videos to accompany the tutorials from each book can be found online at www.universityoffashion.com. From manipulating fabric to dress forms, to tailoring pockets and zips, these three books give a well-rounded grounding for any beginner sewer, and make the perfect collection for their shelves! For your chance to win the complete set of books, worth a whopping £120, enter our competition online at www.simplysewingmag.com. Find out more at www.laurenceking.com
Comple set wo te rth
£120
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competitions
Win: brother sewing machine worth £499 Enter today for your chance to win a brand new Brother Innov-is A150 computerised sewing machine. s every sewist knows, practice makes perfect – and to support you on your sewing journey you need a machine that’s going to grow with you. The Brother Innov-is A150 has been designed to last you a lifetime of sewing, supporting you as you take your skills and creativity to the next level. With 10 buttonhole stitches and an impressive 150 stitches to choose from, whatever you’re sewing you’ll be
able to give it a professional finish. There’s even four lettering stitches to help you create labels and monograms – plus, you can mirror or repeat the stitches to create your own unique patterns. Whether you’re a beginner or a professional, the result is stunning with Brother. Find out more at www.brothersewing.co.uk, and enter our competition to win this machine at www.simplysewingmag.com
win a sewing machin e!
See www.simplysewingmag.com to enter today! (UK only, see competition rules on p6.) Subscribe at www.simplysewingmag.com
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student bedroom
bedroom brights
Give a teenager the bedroom of their dreams with happy-go-lucky prints, pom poms and tassels! Designers: JESSICA ENTWISTLE Styling: LISA JONES Photography: PHILIP SOWELS
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SliPpers
Who knew you could make your own footwear so easily? Once you've mastered this easy quilting technique, you'll be wanting to make a set of pom pom-adorned sliders for all your friends, too. You'll enjoy saying "I made those!" when the compliments start rolling in. You're welcome.
Book CusHion
Keep up your reading resolutions with this handy book cushion, designed with a perfectly sized pocket to store your latest tome (or tablet) within easy reach. This would make an ideal gift for kids who need a little more encouragement in the literature department.
student bedroom
StoRage bag Whether it's your innumerable collection of scarves, or simply your dirty laundry, you'll always find a use for an oversized storage bag! Its large handles and quilted sides make it easy to move around − and its playful print means it's pretty enough to leave on show.
CirCle CusHion Nothing cheers up a room more than a positive affirmation, and this hand-stitched "choose happy" cushion will do just the trick at putting a smile on your face! Better still, we're thinking it would make the best gift ever for our gal pals...
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student bedroom
LamPsHade Can't get enough of this cool cactus print? Neither can we! Make sure it's on permanent display by stretching it around a lampshade frame. Ours was made using a kit from Dannells (get 10% off with code “simply reader" at www.dannells.com) and finished with handmade tassels!
PatChWork rug Keep cold toes cosy at night with a soft patchwork rug to place beside your bed. Showcasing the best in fun printed fabrics with this simple-sew 'pizza slice' design, you'll be well on your way to using up all those fabric scraps you've been hoarding.
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student bedroom book Cushion
01
02
03
04
YOU WILL NEED
Q Fabric A: 1mx115cm (11⁄8ydx45in), for the cushion pocket, piping and envelope back Q Fabric B: 52x52cm (20½x20½in), for the cushion front Q Square cushion pad: 50cm (20in) Q Binding cord: 2.5m (2¾yds) Q Matching sewing thread Q Erasable pen Q Basic sewing kit FABRICS USED From Day Trip by Dana Willard for Art Gallery Fabrics. Summer Field. Ref: DAT-89404; Taco Love Light. Ref: DAT-89405. For stockists visit www. hantex.co.uk NOTE Q Use a 1cm (3⁄8in) seam allowance.
CUTTING OUT Step one From Fabric A cut: Cushion pocket: cut one 64x52cm (25¼x20½in). Cushion back: cut two 32x52cm (125⁄8x20½in). Binding: one strip – see Making Bias Binding and Piping. When working out how much fabric you need to wrap around your cord, cut a 240cm (2¾yd) strip of fabric, fold it over the cord and then mark where the fabric meets around it. Make a note then add seam allowance on top. Our cord is size 4, and we needed to cut 4cm (15⁄8in) wide strips to cover the cord. Step two From Fabric B cut: Cushion front: cut one 52x52cm (20½x20½).
MAKING THE CUSHION SECTIONS Step one Fold the pocket fabric in half wrong side (WS) together to create a pocket piece that measures 32x52cm (125⁄8x20½in). Topstitch along the folded edge, then staystitch around the other three sides. Press. 01 Step two Pin the pocket piece to the bottom of the cushion front then sew together with a 5mm (¼in) seam allowance to secure. Step three For both of the cushion back pieces, fold over one of the long sides to the WS by 1cm (3⁄8in) and press. Then fold over by 1cm (3⁄8in) again to enclose the raw edge. Topstitch in place. If your fabric has a directional print, make sure that the sewn edges match so the pattern flows across the back of the cushion.
MAKING BIAS BINDING AND PIPING Step one To find the bias of your fabric, bring the lengthwise and crosswise grains together diagonally so the edges meet to form a triangle – the fold should be at 45 degrees to the grain. Press along the fold. This line is the bias grain. Using a long ruler and a rotary cutter, cut 4cm
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(15⁄8in) strips along the bias. You need enough to make a long strip of 240cm (2¾yd). Step two To join the bias strips together, place two strips at 90-degree angles to each other with right sides (RS) facing and raw edges matching and with a 1cm (3⁄8in) overlap. Step three Sew the strips together with a 1cm (3⁄8in) seam allowance. Press the seam open and trim off the pointed ends. Step four Continue to repeat these steps to make the binding length you need. Step five Place the piping cord in the middle of the WS of the bias strip. Fold the strip edges together to cover the cord and pin to secure. Step six Using a zip foot, stitch along the length of the cord. Don't sew too close to the cord, as this will mean the stitches will be hidden when the piping is sewn into the cushion cover. Leave the last 15cm (6in) of binding unsewn at each end. 02
ATTACHING THE PIPING Step one Take the piping and pin it around the cushion front so that the piping is facing inwards and the raw piped edges align with the cushion edge. You may prefer to pin the first part only, then hold it in place as you sew. 03 Step two Sew the piping to the cushion front with a 5mm (¼in) seam, clipping the piping to ease it around the corners. Step three Splice the cord by removing half of the strands from each end and winding the remaining
strands together for a neat join. 04 Step four Trim and join the piping fabric ends either by sewing them together or folding over the edge of one over the other. Sew the now finished last bit of piping to the cushion front.
ASSEMBLING THE CUSHION Step one Place the envelope back pieces RS facing the cushion front so that they overlap. Pin, then sew all the way around. Step two Turn RS out through the envelope back and give the cushion a final press to finish.
student bedroom Circle Cushion
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YOU WILL NEED
Q Fabric A: 50x115cm (19¾x45in), for the cushion front and back Q Fabric B: 20x30cm (77⁄8x117⁄8in), for the appliqué Q Yarn: Five balls in aqua, yellow, pink, coral and purple, for tassels Q Card: 6x8cm (23⁄8x31⁄8in), for tassels Q Bondaweb: 20x30cm (77⁄8x117⁄8in) Q Round cushion pad: 45cm (18in) Q Paper: 50x50cm (20x20in), for the circle template Q A4 paper, for the appliqué template Q Tapestry needle Q Basic sewing kit FABRICS USED From Day Trip by Dana Willard for Art Gallery Fabrics. Scattered Showers Warm. Ref: DAT-89407. For stockists visit www.hantex.co.uk NOTES Q Use a 1cm (3⁄8in) seam allowance. Q Download the template from www. simplysewingmag.com/downloads
CUTTING OUT Step one Draw a 47cm (18½in) circle on the paper for the template. Step two From Fabric A cut: Cushion front: circle using the template. Step three Fold the circle template in half to find the middle point, then open out and fold back 6cm (23⁄8in) away from the middle point. Cut along this line to create a template for the envelope back. Using the larger part of the circle cut out: Envelope back: two pieces, making sure that if your fabric is directional that the fabric overlaps correctly when sewn together. Step four Create a mirror image of the appliqué template. Place the Bondaweb onto the mirror image and draw around the letters. Step five Iron Bondaweb onto the wrong side (WS) of Fabric B. Cut out the text, ensuring you place the letter templates on the right side (RS) of the fabric so they will read in the correct direction.
ADDING THE APPLIQUÉ Step one Transfer the text outline onto the RS of the cushion front using the erasable pen. Step two Work out how many tassels you want around the cushion. We have 20 tassels, with four of each of the five colours. Step three Mark equal points on the cushion front for the tassels. Step four Peel off the backing paper from the Bondawebbed fabric and press the text onto the fabric using the iron. Step five Topstitch around the edges of the appliqué for added security. 01
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ASSEMBLING THE CUSHION
ADDING THE TASSELS
Step one For each of the envelope back pieces, fold over one of the long sides to the WS by 1cm (3⁄8in). Press, then fold over by 1cm (3⁄8in) again to enclose the raw edge. Topstitch in place as before. Step two Pin then sew the envelope back pieces to the cushion front, overlapping them in the centre. Turn RS out and press. 02
Step one Thread one of the tassel yarn ends onto a tapestry needle and insert it into the edge of the seam at the marked point. Step two Pull the yarn through to the inside of the circle cushion. Step three Repeat with the other yarn end, this time inserting the needle 1mm away. Step four Pull the yarn ends tight inside the cushion and tie in a double knot to secure. Step five Repeat to attach the rest of the tassels to the cushion, evenly distributing the colours. 04
MAKING THE TASSELS Step one Cut the card in half to make two pieces 6x4cm (23⁄8x15⁄8in). Hold them together then wind the yarn around the 6cm (23⁄8in) length 20 times. Make sure you cut the yarn off at whichever edge the loose starting yarn is. Step two Cut a piece of yarn 15cm (6in) long, thread it onto a tapestry needle then thread it between the two card pieces on the opposite end to where the loose yarn is. Step three Tie the knot tightly in a double knot. Step four Insert your scissors between the two card pieces on the opposite edge to the knot and cut the yarn. Step five Remove the card pieces. Cut another piece of yarn about 15cm (6in) long. Tie it around the top of the tassel approx 1cm (3⁄8in) down from the knot. Wrap around the tassel a couple of times then tie in a double knot. Pull the wrapped yarn ends inside the tassel. Step six Trim the ends of the tassel to the same level. Repeat to make 20 tassels. 03
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Storage Bag YOU WILL NEED
Q Outer fabric: 2mx115cm (2¼ydx45in) Q Lining fabric: 2.5mx115cm (2¾ydx45in) Q Foam wadding: 2.5mx72cm (2¾x283⁄8in) Q Zip: 80cm (31½in) long Q Matching sewing thread Q Erasable pen Q Basic sewing kit FABRICS USED From Day Trip by Dana Willard for Art Gallery Fabrics. Taco Love Light. Ref: DAT-89405; Taco Love Bright. Ref: DAT-99405. For stockists visit www. hantex.co.uk Vliseline Sew-in foam batting from U-Handbag. www.u-handbag.com NOTES Q Use a 1cm (3⁄8in) seam allowance. Q Use fabric clips and a walking foot to help with sewing through thick fabric layers. Q Note the foam is 72cm (283⁄8in) wide, so cut your pieces carefully.
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CUTTING OUT Step one From the outer fabric cut: Front and back: two 52x62cm (20½x243⁄8in). Zip gusset: two 15x82cm (6x323⁄8in). Gusset sides: two 29x77cm (11½x303⁄8in). Handles: two 15x60cm (6x235⁄8in). Step two From the lining fabric cut: Front and back: two 52x62cm (20½x243⁄8in). Zip gusset: two 15x82cm (6x323⁄8in). Gusset sides: two 29x77cm (11½x303⁄8in). Short inner binding strips: three 4.5x29cm. Long inner binding strips: six 4.5x115cm (17⁄8x45in) strips from selvedge to selvedge. Step three From the foam wadding cut: Front and back wadding: two 52x62cm (20½x243⁄8in). Zip gusset: two 15x82cm (6x323⁄8in). Gusset sides: two 29x77cm (11½x303⁄8in). Handles: two 5x60cm (2x235⁄8).
ASSEMBLING THE BAG SECTIONS Step one The storage bag is made up of quilted sections which are sewn together. All of the inside raw edges are bound to create a neat finish. You need to create all of the quilted sections first. The six quilted sections consist of: Two front and back sections: two 52x62cm (20½x243⁄8in). Zip gusset strips: two 15x82cm (6x323⁄8in).
Side gusset strips: two 29x77cm (11½x303⁄8in). Step two Take one of the outer fabric front/back pieces and draw vertical lines 5cm (2in) apart on the right side (RS). Create a quilt sandwich with the front wadding piece sandwiched between the marked outer fabric and a lining fabric piece, so that the wrong side (WS) of both fabrics are facing the foam. Clip together and then tack to hold the sandwich together. Step three Sew along the marked quilting lines using a long stitch length. Staystitch around the outside edges. Step four Repeat for all six quilted sections. 01
MAKING THE BAG GUSSET Step one Take one of the quilted zip gusset strips and pin it RS facing to the teeth of the zip, aligning the fabric zip edge with the long raw edge of the quilted strip. Stitch together using a zip foot. Step two Press the quilted fabric over then topstitch in place through the zip tape. Step three Repeat for the other quilted zip strip, making sure the short ends of the strip align. You should have 1cm (3⁄8in) of zip teeth showing. 02 Step four Take one of the bag gusset side strips and pin it RS together along one of the short edges of the zip sandwich. Sew with a 1cm (3⁄8in) seam allowance. Step five Repeat for the other edge of the zip
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sandwich fabric. 03 Step six Bind both seams where the gussets are joined using the top panel binding strips. 04
ATTACHING THE STRAPS Step one Take one outer fabric handle strip and fold over one long edge to the WS by 1cm (3⁄8in) and press. Wrap this around one of the 5x60cm (2x235⁄8in) foam wadding handle strips so that the folded-over fabric edge is on the outside and is approx 2mm (1⁄8in) away from a wrapped edge. Topstitch down both sides (sewing over the folded edge to close). Step two Repeat for the second foam wadding and handle fabric strip. Step three Take the front bag section. Mark the middle points along the 62cm (243⁄8in) edges for both the top and bottom. Then draw a horizontal line 11cm (43⁄8in) down from the top edge across the section and mark the centre point of that line. Mark 7.5cm (3in) points away from the centre of the line. These are where the bottom of the handle straps will be sewn on. Step four Take one of the bag straps, fold over one of the raw edges by 1cm (3⁄8in) and pin it to the bag section, aligning the folded edge with the marked 11cm (43⁄8in) line and the inner handle edge lining up with the 7.5cm (3in) marked point. Pin in place. Draw a horizontal line 5cm (2in) up from the
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folded handle edge, then a cross between the marked lines on the handle. Step five Sew the handle to the bag front as shown, sewing across the strap a couple of times to strengthen (and sewing along the top stitching vertically). Sew along the marked cross lines. Step six Repeat for the other handle edge. 05 Step seven Repeat to attach the second handle to the back bag side. Clip the edges of the bag front and back so they are slightly curved to make it easier to sew the bag together.
ATTACHING THE BAG GUSSET Step one Mark the centre point of the zip gusset on both edges. Step two Clip the zip gusset on top of the bag front RS facing so that the central marked points line up. Clip the gusset all the way along the top edge and around the RS of the bag. When you clip the gusset to the curved right edge of the bag front snip into the fabric for a neat finish. Step three Mark where the zip gusset joins the side gusset on the front of the bag. Mark the equivalent point on the other side of the bag front, and then the same points on the bag back, so that the seams line up. Step four Carry on pinning the gusset along all the edges all the way around to the bottom. Make sure the left zip gusset/side gusset seam lines up
with the left marked seam point on the front of the bag section. Snip the fabric on the gusset when clipping it to the curved edges, as before. Step five Sew the strip to the bag front. Sew the bound gusset seams down away from the zip edges. Sew until 10cm (4in) away from the bottom marked central point. 06 Step six Check all the seams line up and the curved edges are within the sewn seam. Step seven Mark where the gusset strips line up with the marked bottom of the bag, add 1cm (3⁄8in) seam allowance to each edge then trim away excess gusset strip. 07 Step eight Clip, then sew the raw gusset edges. 08 Step nine Bind the gusset strip as before to enclose the raw edges. Then finish sewing the gusset to the bag front. Step ten Repeat for the bag back, remembering to open the zip first.
FINISHING OFF Step one Turn the bag RS out through the zip and check everything lines up. Step two Turn WS out again. Step three Sew the inner binding strips together along the short edges as before then bind one of the bag seams on the inside. Cut off the excess binding then repeat for the other side. Step four Turn RS out to finish.
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student bedroom Slippers
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YOU WILL NEED
Q Fabric A: 90x50cm (36x20in), for the main fabric and binding Q Fabric B: 32x30cm (13x12in), for the slipper sole Q Foam wadding: 50x50cm (20x20in) Q Yarn: 1 ball Q Clover pom pom maker: 65mm Q Paper for the templates: 2 x A4 sheets Q Erasable fabric marker Q Matching sewing thread Q Basic sewing kit FABRIC USED From Day Trip by Dana Willard for Art Gallery Fabrics. Scattered Showers Warm. Ref: DAT-89407. For stockists visit www.hantex.co.uk NOTES Q Use a 1cm (3⁄8in) seam allowance. Q Use fabric clips and a walking foot to help with sewing through thick fabric layers. Q Download the templates from www.simplysewingmag.com/ downloads
CUTTING OUT Step one Download, print and cut out the templates and make a note of the left and right side on them. Step two From Fabric A cut: Inner sole: two 32x15cm. Slipper upper: four pieces 12x24cm (4¾x9½in). Sole binding: two strips 4.5x80cm (17⁄8x31½in). Slipper upper top edge binding: two strips 4.5x15cm (17⁄8x6in). Slipper upper bottom edge binding: two strips 4.5x22cm (17⁄8x8¾in). Step three From Fabric B cut: Sole: two using the template, remembering to flip the template over to create a mirrored pair. Step four From the foam wadding cut: Sole wadding: two 32x15cm (125⁄8x6in). Slipper upper wadding: two 12x24cm (4¾x9½in).
MAKING THE SLIPPER SOLES Step one Draw around the sole templates on the right sides (RS) of the inner sole fabric pieces – remember to draw a mirror pair. Transfer the marks for the placement of the slipper upper. Step two Draw quilt lines on the fabric within the template lines – we cross-hatched approx 3.5cm (13⁄8in) squares apart. Step three Pin or clip the foam to the wrong side (WS) of the fabric. Sew along the marked lines with a long stitch length then staystitch all the way around the outside (just within the template outline). Cut out the quilted sole along the
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template outline. Step four Clip the quilted sole to the corresponding suede sole, so that the foam is facing the WS of the suede. Step five Sew the two pieces together with a 5mm (¼in) seam allowance. Step six Repeat steps to make the second slipper sole. 01
MAKING THE SLIPPER SLIDES Step one Take one of your Fabric A slipper upper pieces and transfer your slide template and mark quilting lines. Mark whether this is the left or right slide so that they don't get mixed up later on. Step two Sandwich your foam between the marked fabric and the second slipper upper piece. Step three Quilt and staystitch just inside the template outline as before. Cut out your slipper upper along the template outline. 02 Step four Take one of the slipper upper top edge binding pieces and place it on top of your slipper upper piece with RS together, aligning the raw edges. Sew together. Step five Press the strip upwards then press the short edges to the back and fold the fabric strip over the slide edge, tucking the strip raw edge under by 1cm (3⁄8in). Press, then topstitch in place. Step six Repeat for the bottom raw edge of the slipper upper using the slipper upper bottom
edge binding strip. Step seven Repeat steps to make the second slipper slide.
ADDING POM POMS Step one Make two large pom poms using the yarn and pom pom maker. Use two pieces of 30cm (12in) long strong thread that match your fabric to tie the pom poms together. 03 Step two Sew the pom poms to the centre of each of the RS of the slipper upper pieces.
ASSEMBLING THE SLIPPER Step one Staystitch the slipper upper to your slipper sole sandwich, for each slipper. Step two Take one of the sole binding strips, fold over one of the short edges to the WS by 1cm (3⁄8in) and press. Step three Clip the binding strip to the slipper RS together, aligning raw edges. Step four Start by sewing over the folded raw edge, then sew the strip onto the RS of the slipper. Use a long stitch length and stitch slowly. When you reach the start of your stitching overlap the binding by 2cm (¾in) then cut off the excess. 04 Step five Fold the binding to the WS, tuck the raw edge under by 1cm (3⁄8in) and tack in place. Step six Topstitch to finish.
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patchwork Rug YOU WILL NEED
Q Fabrics A-E: 45x30cm (18x12in), for each segment Q Fabric F: 45x85cm (18x33½in), for the rug backing Q Wadding: 50x90cm (20x35½in) Q Paper: 45x30cm (18x12in), for the template Q Erasable fabric marker Q Matching sewing thread Q Basic sewing kit FABRICS USED From Day Trip by Dana Willard for Art Gallery Fabrics. Summer Field. Ref: DAT-89404; Scattered Showers Warm. Ref: DAT-89407. Prickly. Ref: DAT-89408; Winter Field. Ref: DAT-99404. Taco Love Bright: Ref: DAT-99405. For stockists visit www.hantex.co.uk NOTES Q Use a 1cm (3⁄8in) seam allowance. Template includes seam allowance. Q Download the templates from www. simplysewingmag.com/templates
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CUTTING OUT
ASSEMBLING THE RUG
Step one Print and cut out the template. Step two From Fabrics A-E cut: one segment from each of the five fabrics. Transfer the template markings onto the fabric.
Step one Use the quilted rug front as a template and cut out the rug back. Step two Pin the rug front to the rug back RS together and sew all the way around, but leave a turning gap along the straight edge. 04 Step three Clip the corners and then turn RS out through the turning gap. Press. Step four Stitch the turning gap closed with a ladder stitch to finish.
MAKING UP THE PATCHWORK FRONT Step one Work out your fabric placement. Step two Take two segments and place them right sides (RS) together. Pin and then stitch down along one of the two sides. Sew from the curved top edge of the segment down to the marked dot on the template point. Use a small stitch length for strength. Press the seam to the side closest to what will be the long bottom rug edge. Step three Repeat to add all five segments. 01 Step four Pressing the central segment seams away from each other means you will have less bulk at the bottom where the points meet. 02
QUILTING THE RUG Step one Tack your patchwork front wrong sides (WS) facing your wadding. Step two Stitch in the ditch (where the seams join) to join the wadding to the fabric front. Staystitch all the way around just inside the edge of the fabric top to secure. 03 Step three Trim any excess wadding back to the edge of the fabric.
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Put your fave fabrics on display with a DIY lampshade kit.
Whether it's a favourite fabric from your stash, or a design that matches the rest of your decor, don't underestimate the power of a handmade lampshade to add a one-ofa-kind finish. To make our shade we used a 20cm Drum Lampshade Kit and glued some rainbow mini tassels (made from embroidery thread) to the bottom. Fancy giving it a go? Visit www.dannells.com to browse the full range of lampshade kits and use code 'simply reader' to get 10% off until 28th February 2019. They're so easy to make, what are you waiting for?
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KNOW YOUR TOOLS
BUTTONHOLE TYPES Buttonholes are an essential technique – and one that’s surprisingly simple to master with modern sewing machines. Here are the key types.
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titching a buttonhole is a simple skill to master once you know your way around your sewing machine. Calculate the size of buttonhole you need to sew and choose a type of buttonhole using our guide here, and then turn to page 54 for how to sew a buttonhole by machine step by step.
different shapes – keyhole, straight, rounded, and bound – depending on the options available on your sewing machine (industrially produced bound buttonholes are made using specialist buttonholebinding machinery.) Gimp or cord can be used to give your buttonholes added dimension. 03
BUTTONHOLES FOR FLAT BUTTONS The correct buttonhole length for a flat button is the full width of the button plus 3mm (1⁄8in). 01
MACHINE-SEWN BUTTONHOLES There are three methods for creating a buttonhole using a domestic machine, depending on the capabilities of your model: automatic buttonholes, one-step buttonholes, and four-step buttonholes.
BUTTONHOLES FOR SHANK BUTTONS To establish the correct buttonhole length for a shank button, measure from one end of the button cap to the other and then add 3mm (1⁄8in). 02 MACHINE-MADE BUTTONHOLES Machine-made buttonholes come in four
AUTOMATIC BUTTONHOLES Automatic buttonholes are made using a computerised sewing machine. The length of the buttonhole can be programmed into the machine or determined by placing a button in a special buttonhole foot which
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then acts as a guide. Buttonhole styles range from straight to rounded, keyhole, and eyelet. 04 ONE-STEP BUTTONHOLES One-step buttonholes are made with the turn of a dial or the use of a special foot. 05 FOUR-STEP BUTTONHOLES Four-step buttonholes are made in four separate steps, manually selecting the correct type of stitch at each stage - the narrower zigzag for the long sides, and the wider zigzag for the bar tack at either end (see page 54 for the step-by-step guide). 06 This buttonhole guide is from the new book Sewing Techniques for Beginners by Francesca Sterlacci. £40, www. laurenceking.com
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Keyhole
Rounded 04
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Straight
Bound
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MY SEWING WORLD
By Selkie Patterns
Alexandra and Caroline of Selkie Patterns share the special city, and lady, that inspired their collection.
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ello, we are Alexandra and Caroline, co-founders of Selkie Patterns! We create sewing patterns and textiles designed and produced in the UK with the environment in mind. Selkie Patterns was born out of a love for sewing, which is our passion, and sustainability, which is our future. We first met at the University of the Arts London and between the two of us we have lived in many countries, but we make London our home. The idea for creating our own sewing company was born in August 2017, and we founded Selkie Patterns in the summer of 2018 with the help of a successful crowdfunding campaign. We are currently in the process of designing our second Selkie Patterns collection for spring, and the design process in creating our sewing patterns and fabrics is one of the most fulfilling elements of running our own creative business! Between the two of us, we hold degrees in English Literature, Costume Design, Costume Making, Pattern Cutting, Fashion and Art, and we have both previously worked in the costume industry as costume makers and designers, and this background plays a big part in the way we create our products. We want to bring a leading lady to your wardrobe, with great design and a practical fit for the clothes you need in your modern life. By creating our own prints to pair with our sewing patterns as well, it gives us complete creative freedom to design products that tell a story and are unique, stylish, sustainable – and clothes you can treasure for years to come. Our new sustainable fabric collection features bold colours, nostalgic prints and sleek lines and will include new fabric types.
Find our co llectio and fabrics a n of sustainable pattern t www.selkie patterns.co.u s k
"Our fabrics feature bold colours, nostalgic prints and sleek lines."
LONDON CALLING During the design process for our new pattern we couldn’t help but reflect on our debut collection of fabrics and sewing patterns, London, named after the city we both call home. We are inspired by the things that surround us in our everyday lives. The woman behind the inspiration for the London was Alexandra’s grandmother Olive, who worked as a midwife in London during the war and into the late 1950s. The classic uniform she wore in her heyday was one of the initial starting points for the London
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up to n e e b e v e' w t a h w Come and see erns tt a p ie lk e s @ m a r on Instag
our "Being able to create products in a sustainable way is so important to us."
Our fabric designs are handpainted by us and then printed in the UK – it's one of the most fulfilling elements of running our own creative business!
pattern. With its smart, vintage look, her uniform was practical, comfortable and, dare we say, chic! The fundamental style of this era is something we love having in our own wardrobes: clothing that has an elevated look, which makes you feel great and you can wear in your modern day-to-day life. When designing our sewing patterns we take these factors into account, making designs that feel great, look stylish and are enjoyable to sew, which make them great additions to your wardrobe and your sewing table. We create our fabrics especially for our patterns and specifically for dressmaking projects. With prints that work well for making clothes and clever border motifs, our London fabrics feature blues and golds along with hand-painted London skylines. The creative process was made even more special to us as the fabrics are printed in London and are produced in a sustainable and ethical way, and being able to create our collections in a sustainable way is so important to us. Olive was a very stylish and fierce women with a wicked sense of humour, and we know she would have loved the London. Alexandra’s grandmother taught her to paint, and Caroline’s grandmother taught her to sew, and both inspired our ethos: timeless and bold style for bold women. We believe that life is too short for boring clothes, and sometimes the most ordinary day in London, or the women in your life, can inspire the most fabulous wardrobe!
Keeping us inspired...
Alexandra's gr an inspired Selki dmother, Olive, e's debut collec tion.
We're both feeling inspired to update our homes as well as our wardrobes with vintage-inspired projects. While Caroline is upping her upcycling game and has been busy painting and reupholstering secondhand furniture into stylish and original pieces to showcase in her flat, Alexandra is jealous of her progress – she still hasn’t started her upcycling project yet, a stool which has been sitting in her flat for over three weeks...
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PSSTfo:r fabric ande
nd b leaf r a e , v n o o ati r i Turn p shed s i n n i ďŹ g stylin share your agged t o sure t Tee with us ag Staple plysewingm #sim
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THE staple tee
Meet the simplest project you'll ever sew! The beginner-friendly Staple Tee can be made as a tee or dress for everyday wear.
th stap t Whether you're just starting out on your sewing journey or you're an experienced stitcher looking for a simple sew, stock up on jerseys for this issue's Staple Tee. This beginner's style, with grown-on sleeves and a loose fit, is satisfyingly simple to sew and a joy to wear. It can be made as a classic tee or jersey dress, and along the way you'll learn how to sew with stretch fabrics and add a neckband and cuffs for a neat finish. So, what are you waiting for? It's time to boost your skills and your wardrobe!
TWO STYLES Includes options for a comfy T-shirt or jersey dress.
YOU WILL NEED Q Knit fabric: Dress: 2.3mx140cm (2½ydsx55in) Top: 1.5mx140cm (1¾ydsx55in) Q Lightweight ribbing (optional): 10x140cm (4x55in), for the cuffs and neckband Q Ballpoint sewing machine needle Q Twin ballpoint sewing machine needle (optional) Q Matching thread
EASY SEW Has a loose fit and grown-on sleeves for a simple make.
Q Basic sewing kit
FABRIC SUGGESTIONS Light to medium-weight stretch knit fabrics such as cotton jersey or viscose jersey.
NOTES Q Use a 1.5cm (5⁄8in) seam allowance. Q Stretch fabric seams must be stabilised to avoid ripped stitches – clear elastic or fusible edge tape are two options.
GETTING STARTED
First, pre-wash and dry your fabric to allow for any shrinkage. Find the line style for your size and follow these lines to cut out the pattern – it can be helpful to mark these with a highlighter. Get your sewing kit ready, press your fabric – and you’re ready to start your Staple Tee!
Make t h cuffs in e sleeve matc contrast hing or fabric. SKILLS BOOST Learn to sew with jersey and add cuffs and a neckband.
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th stap t wear it with
Pick out one of the pretty pink hues on this floral print for the sleeve cuffs, www.sewingquarter.com
Flowered Engrams Delicate, www.artgalleryfabrics.com
CasuaL fridaY On off-duty days, we wear pink, coral and cute shoes. Swap wintery red for a spring-ready raspberry shade, £10 from www. marksandspencer.com
Striped Sleek Mediterraneo, www.artgalleryfabrics.com
Bullion Fronds Carnation, www.artgalleryfabrics.com
FABRIC INSPIRATION
beginner's luck Brights, blooms, birds, stripes – with so many prints on offer, there's never been a better time for your first jersey project!
Go eclectic with tasseled, mismatched, supersized earrings, £26, www. oliverbonas.com
Wrist candy doesn't come sweeter than this coral bracelet, www. marksandspencer.com
Add sculptural beads for a modern finish, £28, www.oliverbonas.com
Weekends are for comfy jeans, me-made tees and coffee dates, www. marksandspencer.com
Nib and Pluck Ursinia, www.artgalleryfabrics.com
Forget walking on sunshine – we're walking on glitter rainbows, £59.50, www.oliverbonas.com Striped Apart Pink, www.artgalleryfabrics.com
Feather Haven Juliet Jersey, www.sewingquarter.com
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Sew a tee for all seasons with this autumnal print in summery blush pink, www.katia.com
Just add colour-block kitten heels for a dayto-night look, www marksandspencer.com
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purple reign
Make a statement with Portia Lawrie's flounce-detail midi skirt – just hack your favourite skirt pattern with her how-to.
PatTern Hack
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YOU WILL NEED
Q Mid-weight woven fabric (see notes) Q Bias binding (see notes) Q Basic skirt pattern in your size Q Lightweight interfacing (see notes) Q Pattern paper Q Matching thread Q Basic sewing kit FABRIC USED Four-way stretch plain crepe. Ref: LM-1013-Sydney-Magenta. From www. minervacrafts.com NOTES Q The fabric and bias binding quantity will vary depending on the size of skirt you wish to make and the amount of ‘flounce’ in the ruffle. We advise that you make the pattern for your skirt before purchasing fabric so that you can assess the amount needed based on the size of your pattern pieces. For our skirt we used 2mx115cm (2¼ydx45in) of main fabric and 3.5m (4yd) of binding, but this will differ depending on your skirt size. Q As a guide, you will need a strip of interfacing that measures approx 10cm (4in) in width and double your waist measurement in length.
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ALTERING THE SKIRT PATTERN
ASSEMBLING THE SKIRT
The foundation of this project is a simple wrap skirt. We have adapted a basic skirt pattern/block, to consist of a back section and two overlapping front sections. Step one Trace a copy of your skirt front onto pattern paper. Find the midway point between the centre front (CF) and the side seam. Step two Draw a smooth, gradual curve from the waistline mark to the hem. These edges will be the new outer edges of the wrap skirt. Step three We will refine the fit as we go, but at this stage the pieces should wrap comfortably around your waist. You can pin the paper pattern pieces together and carefully wrap them around you to get an idea of fit or you can make a sample in scrap fabric to determine the fit.
Step one If there are darts in the back section of your chosen pattern sew them first. Step two If the front of your pattern has darts, only sew the ones nearest the side seams. Step three Machine-tack the skirt together at the side seams and try it on for fit, using safety pins as temporary closures for the wrap section. Step four Assess the fit and make adjustments to darts and side seams if necessary until you are happy with the fit at the waist. Step five While you are wearing the skirt, walk around and observe the ease of movement around the overlapped front section as you move. It may be necessary to trim away or reshape some of the curve. Do this gradually and try the skirt on between cutting. 02 Step six Once all adjustments have been made and you are happy with the fit, finish the raw edges of the side seams and staystitch the waist edges within the seam allowance. Sew the side seams right side (RS) together. Press open and flat. Step seven The basic skirt pieces should now be assembled, with the waist running along the top edge and a long curved edge extending from the waist on one side all the way around the hem and up to the waist on the other side. Measure the length of this long curved outer edge. 03
CUTTING OUT Step one From the main fabric cut: Skirt back: Cut one as instructed in your pattern. Skirt front: Cut one pair (two pieces which are the mirror image of each other) of the skirt front using the new pattern you have created. 01 Step two If your pattern has side seam pockets you may wish to cut these pieces out. If so, follow the pattern instructions to insert them when you sew the side seams. We will add a waistband to the skirt later on, which will be calculated based on the wrap measurement, so don't cut out any waistband pieces at this stage.
MAKING THE FLOUNCE Step one The flounce is cut as a spiral, and the
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inner edge of the spiral needs to measure at least half of the curved outer edge measurement. To create the spiral, draw a large cross on your pattern paper with a circle approx 10cm (4in) in diameter centred over it. From the outer edge of that circle, draw a spiral that gets wider as you go. Stop at one of the straight lines of the cross once the inner edge of that spiral measures at least half of the outer edge measurement. 04 Step two If the inner edge of the spiral is slightly longer than needed, trim the excess away from the narrow end. Pin the flounce pattern to a double thickness of fabric and cut one pair. 05 Step three Join the flounce pieces together at the widest end, RS together. Press open and flat and finish the seam allowance. Step four Lay the binding on top of the outer edge of the flounce piece with RS facing and aligning raw edges. Stitch the binding to the outer edge of the flounce piece, stitching along the binding fold. Turn the binding over to the WS of the flounce and topstitch in place close to the folded edge to secure. Press for a neat finish. 06
ATTACHING THE FLOUNCE Step one With RS together and raw edges aligned, pin the inner edge of the flounce to the outer edge of the skirt, aligning the CB of the flounce with the CB of the skirt. Sew together with a 1cm (3⁄8in) seam allowance, then finish raw edges. 07 Step two Press the flounce and then press the
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seam allowance towards the skirt. From the RS of the skirt, topstitch close to the seam line to hold the seam allowance in place. Step three Turn the top of the flounce to the inside of the waist edge and tack in place within the seam allowance. Step four Trim away any excess flounce. 08
MAKING THE WAISTBAND Step one Measure the length of the top edge of the skirt. This is the waist measurement. Step two Cut a long rectangle that is 10cm (4in) wide and roughly 6cm (23⁄8in) longer than the waist length of the skirt. Step three Press interfacing to wrong side (WS) of the waistband using a pressing cloth. Step four Press the waistband in half lengthwise with WS facing. Then press a 1cm (3⁄8in) seam allowance to the WS along one edge. Our folded edge is tacked in place due to the nature of our fabric. To get an even 1cm (3⁄8in) folded edge we ran a line of stitching 1cm (3⁄8in) away from the raw edge and used it as a guide when pressing the seam allowance under. 09 Step five With the RS of the waistband facing the WS of the skirt, pin the unfolded edge to the waist edge with raw edges aligned and approx 3cm (1¼in) extending past the waist edge. Step six Stitch in place with a 1cm (3⁄8in) seam allowance. Press the waistband away from the skirt and grade the seam allowance.
Step seven Still working on the WS of the skirt, fold the waistband back on itself so the folded edge is aligned with the seam line just sewn. Flip the seam allowance from the previous waist seam out of the way. Then sew straight across the short edge of the waistband as pictured, catching the folded edge and in line with the skirt opening. Backstitch at the start and end to reinforce. 10 Step eight Trim away the excess to within approx 3mm (1⁄8in) of your stitching line then clip the top corner at an angle, being careful not to cut through the stitching at the corner. 11 Step nine Turn the waistband RS out, and use a knitting needle to turn the corners out. Press the corners with a pressing cloth for a crisp finish. Step ten Pin the folded edge to the previous line of waistband stitching. The entire raw edge of the waist edge should now be enclosed within the waistband. Stitch close to the folded edge through all layers to finish.
FINISHING THE SKIRT Step one Try the skirt on to establish the correct position for the closures. Mark these positions. Step two Stitch a button to the inside waistband when the overlap will sit. Step three Sew a horizontal buttonhole on the outside overlap of the waistband. Step four Attach a a hidden snap closure to the inside underlap of the waistband. 12 Step five Give the skirt a final press to finish.
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THE GREAT BRITISH SEWING BEE 2019 New year, new series – that's right, the Bee is back! We head behind the scenes with judges Esme and Patrick, and new host Joe Lycett, to find out more about what this year's series holds, from tricky upcycling challenges to sewing innuendos. Written by Sarah Gane.
Hurrah, the Bee's famously well-stocked haberdashery returns to our screens. How we'd love to delve into this yummy stash of fabrics!
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fter a long wait – nearly two years! – and an online petition to save it, the fifth season of the nation’s favourite craft show is back and better than ever. New host, comedian Joe Lycett, and judges Patrick Grant and Esme Young welcomed a new batch of competitors into the sewing room we know and love. Yet, narrowing it down to the sewists we see on screen wasn’t an easy task. In fact, this time round there were more people than ever to choose from. “Applications were up 30-40% on previous years,” says Patrick, “The first day that the online applications opened we had a deluge of entries – people must have been ready and waiting.” So, without revealing any spoilers, it’s safe to say that the sewing skills on offer are some of the most advanced we've seen yet. “The standard is exceptional,” says Patrick. Fellow judge Esme agrees: “They were a really fabulous group of sewers. In fact, I was kind of terrified – I was thinking: ‘God, how are we going to decide?’” she laughs. “They were so great.”
EXPECTATIONS AND ALTERATIONS The boost in applicants comes as no surprise when you consider the huge impact of the previous series, though. According to Patrick, after the first couple of seasons of The Great British Sewing Bee, the number of sewing machines sold in the UK went up by about 300%. In fact, last season’s final got up to four million viewers! “That’s a huge percentage of the UK audience watching a show about
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sewing,” he adds. “The charm of The Great British Bake-Off is people who might be your friends or neighbours being challenged to make something. It’s the same with this show. It’s fascinating…” says Patrick of the enduring appeal of the series. “It’s a human emotional struggle to do something under the time pressure.” Tasks are the same as previous series, with the pattern challenges between 2.5 and 4.5 hours, and the made-tomeasure anywhere between 3-7 hours. The transformation challenge is continuing too,
“They just go for it and sometimes amazing things come out... we’re looking for personality." with just an hour and a half from start to finish. “It really is no time to understand the challenge you’ve been given, grab whatever needs to be grabbed, think about what you’re going to do, do it, finish it and pop it on a mannequin,” admits Patrick. As you can see for yourself, the results were imaginative and altogether brilliant, wowing host Joe and the judges. “They just go for it and sometimes amazing things come out… what we’re looking for is not technical perfection, it’s a sense of their personality portrayed through these
transformations,” Patrick continues. Setting each of the tasks on the show was a collaborative process involving the judges as well as members of the production team. “We had the best challenge grid ever,” he reveals. “We’ve got some really good stuff.” Yet, despite everything thrown at them, the competitors continued to rise to the challenge. “The first one was really tricky, really tricky, and they all managed it really well… we’ve raised the complexity of the sewing every year and it was easily the toughest first challenge. They by and large smashed it,” he says. “Everybody could have gone on quite far; and if they’d been in some previous seasons, they could have gone quite a lot further.” Contestants this time round are expected to know how to use an overlocker and a coverstitch machine. Fabric difficulty has gone up, too – sewers in the competition must handle woven fabric with and without stretch now, as well as jersey. This wasn’t the case in previous series – a marker of just how much the show has developed, and the stitching talents of the thriving modern sewing community along with it.
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Photos: BBC/Love Productions/Mark Bourdillon
A GOOD R AD
THE WIDER IMPACT Another change for this year is a closer look at sustainability in fashion. ‘Reduce, reuse, recycle’ is a subject both Esme and Patrick are passionate about – so much so they wanted to dedicate a whole episode to it. Each of the items in the challenges are made from repurposed textiles – not forgetting the inclusion of tents in technical fabrics week – ensuring this incredibly important topic rightfully has centre stage. “We’re reaching a very challenging point in the fashion industry,” says Patrick. “What is lovely about the Sewing Bee is all of sudden people have an understanding of actually what goes into things and they start looking at their seams and they start reading labels… seeing what goes into their clothes.” It’s easy to see why the team feel a sense of responsibility with this subject to a certain extent: with such a wide variety of people sitting down to watch the programme – not just crafters – they’re all learning more about how clothes are being made. “If we’re going to help people make better decisions about the clothes they buy… they need to know
what goes into them,” Patrick explains. While documentaries such as A Plastic Ocean continue to bring about change in consumer habits around the world, the same attention should also be placed on the fashion industry, as Patrick quite rightly points out. “We’re all obsessed with singleuse plastic, straws, coffee cup lids, water bottles, yet that five-quid polyester dress is also a single-use piece of plastic." Esme also hopes that the show will encourage more of us view our clothes differently: “The fashion industry is the second most polluting industry in the world. That’s shocking… what people should be doing is making their own clothes and hanging onto them!”
“What is lovely about the BEe is that people start looking at what goes into their clothes."
SAME BUT DIFFERENT Ultimately, though, whether we’re talking about a garment created for the show, at home or even one bought on the high street, the point is the same: it’s about respecting clothes and the craftsmanship that goes into them. Thankfully, that wasn’t a problem for this year’s collection of keen sewists. They were all eager to demonstrate their talents
Photos left: BBC/Love Productions/Charlotte Medlicott
We're so happy to see the sewing room buzzing with activity again! Turn to page 62 to catch up with some of our fave contestants from previous series of GBSB.
A GOOD R AD and creativity, and the judges wanted to recognise and reward imagination and ideas. “In previous seasons, the more experienced sewer has always tended to go further,” Patrick tells us, “That wasn’t the case with this one. It was more about what they did, what they showed and the clothes they created. Rather than us separating people on the technical competence always.” This judging process turned out to be more fulfilling for the pair in the long run, too. “We were able to look more broadly at their overall vision for the clothes they were creating, their understanding of the way colours work together, shapes that they created. It wasn’t just how neatly have they finished this and how well have they followed the process.” While the temptation was often to do too much in the allotted time, according to the judges, the contestants improved most by making things in their own personal style. “If you’re going to do something in a garment, make it clear that you’ve meant it. Don’t be apologetic about it,” says Esme. Nevertheless, the pressure wasn’t only on the competitors each week. New host Joe had the added responsibility of presenting his mum’s favourite show. “She was excited,
but soon after was worried I was going to ruin it,” he laughs. She offered a few tips for hosting, including "don’t do too many innuendos", but overall she’s happy with the result, he says. “It’s a lovely, gentle cuddly show… it was something I could have fun with. And I did, it was a laugh,” Joe tells us. Fellow presenter and friend, Bake-Off’s Noel Fielding, offered some helpful advice. "He said to just become friends with the contestants and be yourself, really.” Sadly, it didn’t make delivering the results any easier – sending people home each week was the hardest part. “I hated that bit, absolutely hated it,” he admits. “I didn’t want to do it.” Esme agrees: “The first series I did, I was really upset by it. They’ve invested so much, it’s really hard and sad.” Yet, the great sense of camaraderie helped contestants through. There are WhatsApp groups (“I’m in one of them. It’s a nightmare, it pings CONSTANTLY,” laughs Joe. “There’s always new patterns they’ve found.”) and they all meet up afterwards, too. “I think they make friends for life,” says Esme. “They get really committed to each other. It’s really quite magical to see how they get better and how they bond together. I really love that.”
“It’s a lovely, gentle cuddly show... it was something I could have fun with. And I did!"
D
Inspired by the GBSB series 4 highlights, find these tutorials at www.simplysewingmag.com
1
CIRCLE CAPE Episode two saw the sewists tackle tricky childrenswear (and get in a right mess over gussets in the process!). The highlight of the episode was the final wool cape challenge, which inspired us to get stitching up our own swishy circle cape.
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KNICKERS Episode three was all about sewing your own lingerie! Try making your own at home with our free knickers tutorial and pattern download. You’ll need to choose your brightest fabric, frilliest lace and prettiest ribbon for these beauties!
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Photo: BBC/Love Productions/Mark Bourdillon
YOGA MAT BAG The quarter-final saw the five remaining sewers battled it out (in the most polite, British way possible) over activewear. Stay stylishly serene on your way to your next stretching session with our step-by-step yoga mat bag tutorial.
Tune into BBC Two to see what challenges await this year’s contestants and keep up with all the gossip from the new series at wwwsimplysewingmag.com From the contestant's amazing creations, to Joe and Esme's colourful outfits…there's so much to look forward to in this year's series of GBSB!
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!
upcycle
Pumpkin spice
Seek out a bright vintage scarf or delve into your own collection of cover-ups for Debbie Ingle's drapey top restyle.
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UpcYcle ProJect
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YOU WILL NEED
Q Pashmina Q Bias binding: 50cm (20in) Q Erasable fabric marker Q Basic sewing kit Q Matching thread
CREATING THE TOP Step one Fold the pashmina in half with tasselled ends together and the folded edge at the top – this is where the neckline will be. The side seams are already finished so they won't need hemming. Step two From the folded end, mark how long you would like your top to be and add a hem allowance of approx 2.5cm (1in). Step three Cut off the tasselled ends. 01 Step four With the folded edge at the top, mark out your neckline using a dinner plate or another round item. The bigger the neckline, the slouchier the top. You can use an existing top as a guide. Step five Mark a point approx 3.5cm (13⁄8in) down from the folded edge on each side and then draw a line to join these up to the marked neck opening points – this is the shoulder seam line. 02 Step six Mark approx 22cm (9in) down from the shoulder on each side – this is the point where you want the armhole to finish. 03 Step seven Cut along the shoulder seam lines. Step eight Pin and sew the shoulder seams right sides (RS) together and press open, then finish the raw edges with a zigzag stitch or overlocker.
FINISHING OFF Step one Open the bias tape and pin it around the neckline with RS facing. Stitch all the way around, starting at one of the seams. 04 Step two Fold all of the binding to the inside of the top, press and topstitch in place. 05
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Step three Pin and sew the side seams to your preferred fit. The pashmina edges are already finished, so hemming the armholes is optional. Step four Hem the lower edge of the top. We finished the raw edge with an overlocker, turned it to the wrong side and topstitched it into place. Alternatively, zigzag the raw edge on your sewing machine, turn to the wrong side (WS) and topstitch to finish. 06
STITCH y r a r lib
cut out & Keep
Pair delicate feather stitch with French knots and chain stitch blooms for Mollie Johanson's embellished infinity scarf.
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YOU WILL NEED
Q Linen fabric: 2 pieces measuring 46x106cm (19x42in), for the embroidered outer Q Lightweight cotton fabric: 2 pieces measuring 46x106cm (19x42in), for the lining Q Stranded cotton in navy, pink, mint and white Q Basic sewing kit NOTE Q Use a 1cm (3⁄8in) seam allowance. Q Download the template at www. simplysewingmag.com/downloads
TIP:
rf a c s y t i infin n a ric e k b a a f e s To m u ess, n l l u f s s 46cm n a h t with le r rowe r a h. n t g s p n i e l e str ng th i p e e k , ) (18in 50 WWW.SIMPLYSEWINGMAG.COM
EMBROIDERING FEATHER STITCH Step one Bring the needle up through the fabric at the top of the feather stitch design. Go back down a short distance to the side, but don’t pull the thread tight. Come back up a short distance below and in the center of the first two points. Catch the loop of thread with your needle. 01 Step two As you pull the needle through, it will tighten the first stitch. Next, go back down a short distance to the side without pulling the thread tight. Then come back up below the two points, catching the loop of thread as before. Step three Repeat these steps, working from side to side for standard feather stitch. 02 Step four To work this as double feather stitch, repeat step two to add another stitch on the same side. Then work toward the opposite direction, following the same steps. You can also work these stitches in a single motion, going down and coming back up as shown. 03
MAKING THE INFINITY SCARF Step one Trace and embroider the floral design onto the linen, approx 8cm (31⁄8in) from the top corner. Stitch the feather stitch sprigs with navy and mint stranded cotton. Step two Embroider the dots with pink French knots and then add white detached chain petals around some of the French knots. Use three strands of stranded cotton for all the stitches. 04 Step three Sew the linen pieces right sides (RS)
together along a shorter edge to form a long strip, with the embroidered end in the middle. Step four Sew the cotton fabric pieces into a long strip. Press the seams open. 05 Step five Pin the two strips with RS together and sew along the two long edges. Press the seams open. On one of the ends, press the fabric edges to the wrong sides (WS) by 1cm (3⁄8in). Insert the opposite end into the pressed end. Topstitch across the overlapping fabric or hand-stitch the folded edge with a blind stitch for a neat finish. 06
patch it up
A men's shirt, floral patches and a spare afternoon are all you need to make Debbie Ingle's tie-waist top.
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YOU WILL NEED
Q Oversized men's shirt Q A top or shirt that fits you well Q Erasable fabric marker Q Appliqué patches of your choice Q Matching thread Q Basic sewing kit NOTES Q Use a 2.5cm (1in) seam allowance.
CUTTING OUT Step one Lay the oversized shirt out flat on your work surface and lay your top on top. Step two Mark around the edge of your top, adding 2.5cm (1in) to each edge for a seam allowance. At the waist, do not shape the shirt according to your top – men’s shirts have no darts, so it will be too tight around the bust if you curve the waist line. Instead, simply draw a straight line down from the underarm to the waistband – this will eliminate fit issues. 01 Step three Draw a curved line as shown down from bottom of the top to the end of the man's shirt placket to make the waist ties. 02 Step four Cut out around the drawn lines. Cut the hem at the back straight across as the ties are only needed at the front of the shirt. 03
STITCHING THE TOP Step one Finish all raw edges with a zigzag stitch or using an overlocker, then hem the armholes and bottom of the shirt. 04 Step two With right sides (RS) together, stitch the side seams together and then press the seam open. 05
FINISHING OFF Step one Press the appliqué patches onto the collar in your desired position. Alternatively, you can stitch the patches in place. 06 Step two Give the finished shirt a final press.
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We've decorated our shirt with iron-on patches, but you could also embroider your own design by hand.
Fab l
M d rn
iltin Fabrics
The Award-Winning Haberdashery Shop
‘Chic Neutrals’ by Amy Ellis for Moda
On Now www.thefabricloft.co.uk
For your fabric, yarn & haberdashery needs. Over 500 fabulous fabrics for quilting dressmaking & crafts. Stockists for Riley Blake, Michael Miller, Liberty, King Cole, Stylecraft, Prym and the biggest selection of pompoms in the country.Workshops for all levels. Really Maria’s Unique Pouffes and Doll Kits
BREAKING THE BOUNDARIES OF COLOUR
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0203 581 0909 Find us on:
workshop
SEW A BUTTONHOLE
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Stitching buttonholes is an essential skill to take your projects to the next level. Here you will learn about the anatomy of the buttonhole and how to use the automatic buttonhole feature.
eattaching a button that has fallen off of a garment is often the first taste of sewing that most people will get – this is a relatively simple task that mostly concerns securing the thread properly and hiding the stitches neatly on the inside. Stitching a buttonhole, on the other hand, is a task that even some experienced sewists will attempt to avoid! Buttonhole stitches are a clever feature on modern machines but often seem like a daunting task, with their accompanying large presser foot. As with any task in dressmaking, though, having an indepth knowledge of how a stitch works and why it is necessary will make the process less scary. Knowledge is power, after all! Once you have mastered stitching buttonholes you will find that not only are they highly effective to use as a closure for blouses, skirts, trousers, jackets and a range of other garments, they are also great for adding a personal touch to a garment – the more skills you can acquire in dressmaking, the more possibilities there are to customise patterns to your liking. For example, why not add buttonholes and buttons to pinafore straps instead of dungaree clips, or add an extra buttonhole to that blouse that never stays done up as you would like! BUTTONHOLE ANATOMY A straight buttonhole consists of two components: a wide zigzag bar tack located at top and bottom, and two parallel rows of narrower zigzag stitching, which is known as thread bars. The stitching binds the raw edges of the buttonhole. 01 BUTTONHOLE TERMINOLOGY The various parts of a buttonhole are referred to using specific terminology. The buttonhole length is the overall length of the buttonhole, including the bar tacks at the end. Bar tack length refers to the amount of bar tack stitching on each end. Buttonhole opening is the length needed for the button to pass through. The cutting width is the area between the buttonhole stitches, which is cut open for the button to pass through once the buttonhole is complete. Stitch density
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01
Bar tack
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refers to how compact and tight the threads are, whereas stitch bite describes the width of the individual stitches. 02 A: Buttonhole length B: Bar tack length C: Buttonhole opening D: Cutting width E: Stitch density F: Stitch bite BUTTONHOLE STITCHING SEQUENCE Machine-made buttonholes are sewn in a particular sequence, as illustrated. 03 SEWING A TEST BUTTONHOLE Before sewing the final buttonholes on a garment, first sew a test buttonhole on a sample that has been prepared exactly like
the final garment. The sample should be cut on the same grain as the final garment, and it should also be properly interfaced in the same way to ensure the results will be the same as the finished garment. Refer to your sewing machine’s manual for its available buttonhole features, and start with a new needle and a full bobbin. Finally, make sure your stitches align exactly with the buttonhole position that you have marked, and are sewn in the correct sequence, so that the final placement is as intended. This sewing buttonholes workshop is from the new Sewing Techniques for Beginners book by Francesca Sterlacci. £40, www.laurenceking.com
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SEWING A STRAIGHT BUTTONHOLE Your machine may offer settings whereby you can control the stitch bite (the width of each stitch) and the stitch density (how compact the stitches are). Always consider your fabric when making these decisions – too many stitches on a lightweight fabric, for example, can tear the fabric apart. Step one For this workshop, we have attached the automatic buttonhole attachment that came with our model of sewing machine. Always make sure that you have enough thread on the top and in the bobbin before you start. Step two Start by placing your button in the attachment, as demonstrated. The attachment will then create a buttonhole that is the correct length for that particular button, in this case 2.5cm (1in). Select the machine’s straight buttonhole setting. 01 Step three The fabric used in our example was prepared with iron-on interfacing between the fabric layers to keep the buttonhole from stretching, and the position of the buttonhole was marked on the fabric. Step four Position your needle so that it aligns with your buttonhole marking. Remember to always do a test buttonhole on a scrap of fabric before tackling your actual garment. This will allow you to perfect the process and realise any flaws before stitching on the final garment.
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We are using a contrast thread colour for demonstration purposes. 02 Step five Lower the presser foot, making sure that the buttonhole attachment is at a right angle to both the folded edge of the fabric and your centre line marking. 03 Step six Start the machine and the buttonhole will be stitched automatically. Gently hold the fabric with your hands while the machine completes the process. Don’t pull the fabric as this will result in a distorted buttonhole. 04 Step seven The machine will stitch along one side, then the other, and will automatically stop once the buttonhole is complete. 05 Step eight Once the buttonhole is finished, lift the presser foot and trim the threads. Step nine To open the buttonhole, fold the buttonhole in half and use your clippers to snip into the centre of the buttonhole, as demonstrated here. Take care not to cut into any stitches. 06 Step ten Use the tip of your clippers to open the buttonhole at the corners. Clip one side, then turn the buttonhole and clip the other so that the buttonhole is fully opened. You must work with sharp-tipped clippers, scissors, or use a specialist chisel tool for buttonholes. Take care not to cut into any of the buttonhole stitches. Step eleven You have now sewn a machinemade straight buttonhole.
Women’s buttonholes are sewn on the right side when worn, and men’s on the left side.
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transform it!
back to brights Create a geometric patchwork panel from scraps to jazz up an old denim shirt with Lana Red's thrifty how-to.
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diy FasHion ProJect
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YOU WILL NEED
Q Denim shirt Q 3 x scraps of fabric: 40x40cm (16x16in), in a variety of colours Q Erasable fabric marker (optional) Q Matching thread Q Basic sewing kit
CUTTING OUT Step one Spread the back of your denim shirt out on a flat surface. With a circular object, mark a circle in the centre of your shirt with tailor’s chalk or an erasable fabric marker. Step two Cut out, keeping the circle intact to use as a template later. The best way to do this is make a small snip in the outline and then carefully cut around the circle from this point. Step three Fold the raw edge of the circle outline to the wrong side (WS) by 5mm (¼in) and hold in place with pins. 01 Step four Cut your fabric scraps in strips of 6.5x32cm (25⁄8x125⁄8in). We used six in each colour, but this may vary depending on the size of your cut circle. Iron the strips flat. 02
MAKING THE PATCHWORK CENTRE Step one Pin the strips together along the long edges in groups of three, keeping each block in the same colour sequence. Step two Sew the strips together and press. Step three Finish the outer edges of each assembled block with an overlocker or machine zigzag stitch and press. 03 Step four Decide on your preferred block layout and then pin them together. To give you an idea of the end result, place the cut-out circle on the denim shirt on top of the pinned blocks and move it around or repin the blocks until you are happy with how it looks.
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Step five Sew the blocks together in your chosen layout and then finish the edges using an overlocker or a machine zigzag stitch. Press the edges flat. 04 Step six Take the denim circle piece you cut from the shirt and place it on top of your sewn blocks. Trace around the denim circle, adding a 2cm (¾in) seam allowance around the edge. Carefully cut out the marked circle. 05 Step seven Finish the cut edges with an overlocker or a machine zigzag stitch.
ASSEMBLING THE DESIGN Step one Place the patchwork circle underneath the cut-out in your denim shirt. Pin into place, keeping the folded denim edge turned under. Step two Sew the patchwork circle in place with a straight stitch around the circle edge, making sure you are catching both the shirt and the patchwork with your stitching. 06
Lana is the founder of the DIY and lifestyle blog, www.lanaredstudio.com. When she is not behind her sewing machine or camera, you will probably find her cuddling with her cats or twirling around in one of her handmade dresses.
heart of gold Someone you know in need of a pick-me-up? Say it in stitching with Lana Red’s zip pouch embroidered with a slogan of your choice.
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YOU WILL NEED
Q Faux leather: 30x35cm (12x14in), for the purse Q Faux leather scrap, for the heart appliqué Q Zip 22cm (9in) Q Stranded cotton Q Embroidery needle Q Embroidery hoop Q Tailor’s chalk or erasable fabric marker suitable for faux leather Q Matching thread Q Basic sewing kit
CUTTING OUT Step one Draw a heart shape onto the faux leather scrap with tailor’s chalk. In the centre, write a quote, name or other wording. If you are drawing onto the back of the leather, make sure to write a mirrored version of your quote so it will be the right way from the right side (RS). Step two Place the fabric in the embroidery hoop and embroider the quote by tracing the letters with a basic satin stitch. 01 Step three Once you have embroidered your quote, remove the fabric from the embroidery hoop. Cut the heart shape out of the fabric. 02 Step four From the faux leather cut: two pieces 25x16cm (97⁄8x63⁄8in). 03
and fold one side of the leather over to the other and match the bottom of the pouch. The pouch pieces will be WS out. Pin and sew the leather pieces together all the way around. 06 Step five Turn the pouch RS out through the zip. Finger-press the stitched line and then topstitch the outer edges of the pouch to finish.
MAKING THE POUCH Step one To create the pouch front, place the wrong side (WS) of the embroidered heart on top of the RS of one of the leather pieces and sew in place. 04 Step two Fold 1cm (3⁄8in) of the top of the front piece to the back and hold it in place with a few pins or clips. Fold 1cm (3⁄8in) of the second leather piece to the back and keep it in place with a few pins or clips. Step three Place the closed zip on a flat surface and attach both of the folded edges RS up to the zip with a few pins. Sew along this edge on your machine using matching thread. 05 Step four Unzip the zip by a few centimetres
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Faux leather fabric doesn’t fray so is ideal for appliqué.
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Photos above: BBC/Love Productions/Charlotte Medlicott
THE BEES: THEN & NOW Some of 2016’s Great British Sewing Bee contestants share their highs and lows on the show, what they're up to now, and their top tips for the hopefuls appearing on this year's series. Written by Sarah Dawson.
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A GOOD R AD TRACEY SYMONDS www.polkadotdesigns.co.uk What have you been up to since GBSB? "I started my own sewing business. I do alterations and have made my first wedding dress this year for a bride who wanted something she couldn't find in the shops. I'm building a reputation and getting more and more recommendations. I've also done a few Mother of the Bride outfits, so they can have something unique. I love being part of someone’s special day and try my upmost to take away any stress! My son got married in Italy this year, so I got to design and make my own Mother of the Groom outfit and I learnt some millinery skills to trim my hat to match! I'm still learning – in January a bunch of my fellow Bees and I are taking a draping course with Claire-Louise Hardie (www.thethriftystitcher.co.uk) who was our sewing producer on the show. My favourite part of my job is teaching sewing. I was a teacher before so it's lovely to still be able to do that, without all the paperwork involved in classroom teaching. It’s great when I get repeat students, who feel they've learnt something new and want to progress.” Has it had a positive effect on your life? “The difference it has made to my life is immeasurable. It felt like a big step to start my own business, but I've never looked back. I am much happier being my own boss.”
What was the best thing you learnt during your time on the show? “I learnt a lot about fitting garments from the other sewers as well as from Patrick and Esme, and now I'm much more confident in understanding where to make things fit! I learnt to trust myself and not worry about what others think about me. I am what I am, take it or leave it, and that is very liberating.” What's your best memory from the show? “How much we all helped each other. It never really felt like a competition to us. It was always us against the judges and we wanted each other to get good feedback. The friendships we formed are for life!” Will you be watching the new series? “I'll definitely be watching and feeling every stitch and challenge with the contestants. I think Joe Lycett will be a great host and put the contestants at their ease, like Claudia Winkleman did with us.” Any advice for the 2019 contestants? “Enjoy every minute! You'll never experience anything like it again. It can change your life.”
“It never really felt like a competition. we wanted each other to get good feedback."
For winner Charlotte, being on the show "changed my life. I now make a living doing what I love."
CHARLOTTE NEWLAND www.charlottenewland.com What have you been up to since you were on the Sewing Bee? “Since being on the Sewing Bee I've been teaching dressmaking and writing content for magazines. I've been working with TV shopping channel Sewing Quarter (www. sewingquarter.com), which is lots of fun. I still love to sew for my family and for myself, and make all my own clothes (even underwear!).” Has the show had a positive effect on your life, sewing and career? “The Sewing Bee completely changed my life – I've been able to give up what used to be my day job (editing scientific journals), and now make a living doing what I love. I feel very lucky.” What was the best thing you learnt during your time on the show? “The best thing I learnt was that there are lots of ways to do the same thing – and that they are all right! I'm a self-taught sewist, so sometimes I would feel like I was doing things 'wrong', but not anymore!” What is your favourite memory of your time on the show? “The times we spent mucking about in the green room, for sure!” Will you be watching the new series? “Absolutely!” Any advice for the 2019 contestants? “Try to stay as calm as possible, and practice as much as you can.”
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Tracey has swapped the classroom for the sewing room, and now teaches sewing classes and has an alterations business.
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ANGELINE MURPHY
Rumana says the Bee has given her confidence: "After being thrown into the most ridiculous tasks, I feel like everything is possible!"
RUMANA LASKER DAWOOD www.thelittlepomegranate.co.uk What have you been doing since the Bee? “I'm currently on maternity leave with my first baby. It's been lovely to concentrate more on my sewing, when I get some spare time! It's been quite a battle sewing for my new post-partum shape, but I'm trying to enjoy it (even if it has me knocking my head against the sewing table). Recently I went on a pattern-making course and got a new semiprofessional machine to play with! So I've got high hopes for where my sewing is going.” Has it had a positive effect on your life? “It's had a huge impact on my life. I was taking a break from my job as a junior doctor and teaching medicine at a university when we did the show. I've since started training to be a GP. Sewing is a huge part of my 'worklife balance', it's the way I unwind. After the Sewing Bee I committed to it (and myself) even more, carving out sewing time, or doing sewing projects (even if it's just an interview or collaboration here and there)." What was the best thing you learnt during your time on the show? “To try anything and everything. I think there's always a fear of messing up. But after being thrown into the most ridiculous tasks I feel like everything is possible!” What is your favourite memory of your time on the show? “There are so many to choose from! I think the time we were bagging out our coats in 60s week. Charlotte talked through it like it was her coat giving birth which cued lots of 'it's crowning' jokes as we started to pull the coats through. It's probably funnier in my head but we were all crying with laughter!” Will you be watching the new series? “Do you even need to ask?! I'm sure we'll try and have a 2016 reunion viewing, too!” Any wise words for the 2019 contestants? “One thing someone told me afterwards was: 'Isn't it amazing that you were part of such a monumental thing which helped make sewing popular again?' It is really something to know that so many people have started to sew after watching a show you've been on.”
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www.angelinemurphy.com What have you been doing since you were on the show? “Life has been a rollercoaster since the Sewing Bee. I found out I was pregnant with my little boy, Luke, the day episode one was aired on BBC. As you can imagine, home has been busy. However, I have always found time to sew. I designed and stitched up my first wedding dress commission earlier this year for my fellow contestant Josh’s fiancé, Hannah. This was a proud moment and I was very humbled that Hannah asked me to create her dream dress. Over the last two years I have held a number of talks about my time on the show and worked with local councils to promote craft in the community. I have also held a number of sewing classes as well as hen parties in local venues, and have completed commissions including three bridal parties, a few wedding guest dresses (including a guest’s outfit at Rory McElory’s wedding), some baby outfits and a few bits and bobs for myself as well. I have worked with a number of brands, including Janome and fabrics shops such as Girl Charlee. Most recently, I've been asked to present a regular slot on Ireland’s leading daytime talk show. Life has been incredibly busy – especially as I still hold down a fulltime job as a Marketing Manager!”
Has the Bee had a positive effect on your life and career? “Absolutely! I gained so much experience from the show – from the fabulous people I met along the way, to the skills gained on the Sewing Bee floor. I certainly left with more confidence and a greater belief in myself. You really can achieve anything if you put your mind to it and work hard.” What was the best thing you learnt during your time on the show? “I learnt so many wonderful things on the show from my fellow contestants – from tips and tricks, to gadgets and shortcuts. It really was an eye-opener for me as I never had friends who sewed! The most positive thing I took from the show was to believe in yourself, keep your head down and work to the final whistle!” What is your favourite memory of your time on the show? “My favourite memory has to be winning garment of the week twice. I lacked so much confidence going on the show, that these accolades early on really helped me believe in myself a bit more.” Any advice for the 2019 contestants? “Keep it simple and finish the garment to a high standard. You can get carried away by trying to show too many techniques, and jeopardise the quality of the garment. Ooh, I almost forgot – press your garments well!”
“I gained so much from the show. I certainly left with A GREATER belief in myself."
Angeline's top tips for the new Bees? "Keep it simple – and press well!
A GOOD R AD DUNCAN CARTER www.instagram.com/duncan_carter What's life been like since the show? “I’ve been sewing much more regularly since the Sewing Bee. I was very new to the hobby when I applied and had sewn fewer than ten garments in my life! Since then, I’ve been doing a monthly blog for Minerva Crafts (www.minervacrafts.com) where I get to experiment with new fabrics and unusual patterns and push myself to try out new techniques. I’ve hacked patterns apart and combined them with others, drafted my own patterns and been creative with colour. I’ve also had some great support from Janome (who make the machines that are featured on the Sewing Bee), which has given me the opportunity to make more technical garments and use fancier sewing machines than I ever had access to before.” Has the Sewing Bee had a positive effect on your life and career? “It definitely goes down as a brilliant life experience and I’m much more confident with my sewing now, but I’m not a serious sewer and it was never my plan to turn it into a career. The Sewing Bee tagline is “The search for Britain’s best home-sewer” so, for me, the heart of the programme is in showing the diverse range of people that come together because sewing is their hobby. The show has given me the opportunity to dabble with the more professional side of things (I’ve had a couple of commissioned pieces, from as far away as Kentucky, USA!) but, ultimately, the idea of putting pressure on my sewing to pay the bills would take the fun out of it.” What was the best thing you learnt during your time on the show? “I learned that I fuss too much with the details, even the bits that no one will ever see. Nowadays I don’t procrastinate so much or worry about the tiniest flaws, instead I get stuck in and deal with things as they happen. If it looks good in the mirror, then it’s good enough to wear!” What is your favourite memory of your time on the show? “I loved all the behind-the-scenes stuff – everything that happens in the sewing room is in real-time, so what you see is what really happens, but behind the scenes there are some really fun (and stressful!) moments that go unrecorded. I remember Claudia coming to say hello to us all on the first morning with a huge platter of home-baked brownies! It was so early in the morning, though, and most of us were too nervous to eat, so I don’t
know if anybody even had one!” Will you be watching the new series? “Absolutely! I’m a big fan the show and will be watching and cheering on the next group of contestants. I’m sure it will have a different feel with the new presenter, so I’m excited to see what they’ve changed, what’s been kept the same and, of course, I can’t wait to hear the judges' murmured quips about what everyone is getting up to!” Any advice for the 2019 contestants? “Yes – go, go go! It’s amazing how quickly the time vanishes, so don’t dilly-dally for ages on the early stages (like I did!). The one thing that I’d do differently is to really hurry through the cutting stage. It’s often the fiddly bits at the end of the task that become a huge challenge – the clock is ticking, people are screaming and sweating, and there’s a massive camera lens in your face! So, the more time you can buy earlier on in the challenge, the more relaxed the end will feel. Also, on the upcycling challenges, the judges want creativity, not perfectly made garments, so go wild! I wish I’d used feathers... just saying!"
“It goes down as a brilliant life experience. I’m much more confident with my sewing now."
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PSSmTe: et designer
re o a t h r s e v d o Turn Hartley, an inafore P Kirsty shed Kitty gmag ni win your ďŹ #simplyse s with u
kitty pinafore
Make a new favourite for your little one's everyday wardrobe with the sweet Kitty Pinafore in sizes six months to seven years.
kitty pinafor We've long suspected that kids get all the best clothes, and this issue's Kitty Pinafore pattern, for ages six months to seven years, confirms it! With its colourful details and easy-to-wear shape, we wish this cute style came in our size. Little ones will love the Kitty Pinafore's playful, dress-up vibe and patch pocket for stashing toys and treasures – not to mention how easy it is to run, jump and play in! Its button-up fastening, elasticated waist, appliqué details, embroidery and topstitching make this project a great skills-booster for you, too. Pick out a medium-weight fabric, such as denim or corduroy, for maximum durability during play, and get its lucky future wearer involved in choosing the thread colours and fabrics for the cat's face and ears for a purrfect end result.
STAPLE STYLE Great for layering with your child's tees and jumpers.
YOU WILL NEED Q Main fabric: 60x150cm (24x60in) Q Contrast fabric: 10x20cm (4x8in) Q Glitter fabric: small scraps in two colours Q Stranded cotton, for the whiskers Q Elastic: 30x2cm (12x¾in) Q Bondaweb (optional) Q Large button Q Basic sewing kit
FABRIC SUGGESTIONS Medium-weight fabrics such as denim, corduroy or cotton.
GETTING STARTED
First, pre-wash and dry your chosen fabric to allow for any shrinkage before cutting out. Find the line style for your child's size and follow these lines to cut out the pattern – it can be helpful to mark these lines using a highlighter. Get your sewing kit prepped, press your fabric for accurate cutting out – and you’re ready to get started on your Kitty Pinafore!
Sew con topstitc trast hin colourf g for a ul finis h.
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EASY WEAR Has a loose shape and elastic waist for a comfy fit.
CUTE DETAILS Add hand-sewn whiskers and glitter appliqué.
kitty pinafor Meet the designer: KIRSTY HARTLEY Kirsty Hartley is best known for her charming children’s clothing line, Wild Things, which is as much adored by parents as it is the lucky little ones who get to wear it all (jealous, us?) – not to mention celebrity fans such as Lily Allen and Charlotte Church. Kirsty has also written two sewing books, Wild Things: Funky Little Clothes to Sew and Wild Things to Make: More Heirloom Clothes and Accessories to Sew for Your Children, which offer sewists of all abilities the chance to make their own versions of her gloriously whimsical kidswear. Now, though, it’s time for you to stitch an exclusiveto-us design by Kirsty – the Kitty Pinafore! Kirsty loved sewing from an early age. "I’m a prolific maker and always have been, being fascinated by working with fabrics. I’ve always loved working with shape and pattern." After studying Fashion and Textiles at degree level, Kirsty designed for her own womenswear label before working for large retailers, and later worked as a freelance fashion and print designer while lecturing at Manchester School of Design. The idea for her Wild Things brand was sparked while on maternity leave, inspired by a gap in the market for beautiful handmade childrenswear with a sense of fun. "I now have three children (Ewan, Silva and Lila). After my youngest was born, I started to revive my love for making and passion to create handmade pieces with heart and soul, and decided on an overnight whim to set up my own Etsy shop. It seemed for so long that the market was oversaturated with overseas-made goods with little involvement in the hands-on creative process. I wanted to go back to making." It's an approach that reflected the needs of her customer base right from the start. “I soon
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realised that a high number of customers buying for their children were searching for more than just a mass-produced item,” she says. “I also loved how Etsy was championing a new wave of artisan makers, allowing them to carve out a niche doing what they loved.” Her clothing collection – and this issue's Kitty Pinafore pattern – is aimed at putting imagination back into the magic of childhood through clothing. "It's about dressing children for play, and not as mini adults, inspired by simple imagery, colour and a sense of the extraordinary. My clothes are durable, can be worn every day and use great-quality fabrics. I love simple imagery, especially from 1960s and 70s children’s illustration. I also use simple clothing shapes that can be worn every day, made with washable and hardwearing fabrics, and then add something out of the ordinary to them. So, fundamentally for children’s clothes, I’m inspired more by the decoration than shape itself." It's something you can try yourself by getting creative with decorating your Kitty Pinafore: "Work with simple shapes and bold colours, either with appliqué or print." Indeed, animals feature a lot in Kirsty's designs – her clothing range features a whole menagerie of cute and colourful critters, from cats and bunnies to lions and foxes. "The character styles evolved after seeing the possibilities of incorporating the face shape within the construction of the garment, such as a yoke or hood panel," she says of her design process. "I start with a good colour fabric base and work from there. I sketch or draw the design using Photoshop when I start, but I also work freely with a palette of fabrics." Ever the passionate maker, she still finds time to squeeze in a few craft projects in and
around designing for her brand (and Simply Sewing!). "In my spare time (what is that?) I've been working on soft leather bags – I love working with leather. I’ve also learned Peyote beading, a Native American technique. It’s time-consuming, but I managed to complete a length of beading as a gift for my mum." Her top sewing tip? "Always be patient and embrace mistakes. Often mistakes reveal the best of your work. Get to know your machine, too, as this can often be the biggest hurdle!" See more at www.wildthingsdresses.com, and share your pinafore tagged #simplysewingmag
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bear necessities
Sew your little cub a cute hooded towel poncho for bathtime cosiness, made to fit their measurements. By Angela Umpleby.
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Q A bath towel or bath sheet (see notes) Q A hand towel (see notes) Q Matching thread Q Basic sewing kit NOTES Q The size of your towel needed will depend on the size of your child. Q The hood pattern is for ages 18 months - 2 years. Q You may need two hand towels depending on the size of your child’s head. Q Use a 1.5cm (5⁄8in) seam allowance unless otherwise stated. Q Download the template at www. simplysewingmag.com/downloads
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MEASURING UP Step one Fold the bath towel in half with the ‘finished’ patterned edges aligned. Step two Measure from your child’s shoulders to their mid-calf to determine the length of the finished hooded towel. Step three If you need to shorten the towel, cut away from the folded edge, as shown. Re-sew the cut edges, right sides (RS) together. 01 Step four Towelling fabric tends to fray and shed, so neatening raw edges after sewing is important to ensure the longevity of the finished poncho. Neaten the seam edges using a machine zigzag stitch or an overlocker.
MAKING THE HOOD Step one Fold one short edge of the hand towel to the centre and then repeat with the second edge, as shown in the image. Step two Place the hood pattern with the straight front edge of the hood on the fold as shown, ensuring the base of the hood is at the finished edge of the towel. Step three Cut through the double thickness of towelling then repeat against the other folded edge of the towel. 02 Step four Open out the two hood pieces and pin then sew them RS together around the curved seam, leaving the finished edges open. 03 Step five Trim the seam allowance back to reduce any bulk.
Step six Fold the two hood pieces into each other, matching up the centre back seams, as shown in the image. 04
ATTACHING THE HOOD Step one With the bath towel folded in half and the finished patterned edges together at the bottom, mark the centre of the folded edge (or sewn edge, if you have shortened your towel). Step two Place the marked centre of the hood template against the marked centre of the folded (or sewn) edge. 05 Step three Cut a neck hole for the hood that is the width of the hood template, rounding the front of the neck as shown. 06 Step four Turn the towel wrong side (WS) out. Matching the centre back of the neck hole with the centre-back seam of the outer hood, pin the outer hood to the neck, RS together. Step five Sew, removing the pins as you go, or tack first and then sew if preferred. Step six Trim the body neck seam allowance only, not the finished edge of the hood. 07 Step seven Turn RS out and pin the inner hood edge over the neck seam. Fold the front neck edge over twice to the inside and then pin this into place. Step eight Sew through all layers, just below the neck seam and all the way around the neck, removing the pins as you sew. You may wish to tack first and then sew for accuracy. 08
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MAKING THE TUMMY PIECE Step one Cut out the tummy from the remaining hand towel. Pin into place on the body and sew, either by folding raw edges of the tummy under and sewing all the way around, or by oversewing or zigzag stitching around the tummy piece. 09 Step two Sew around the tummy a second time to make sure it is attached securely.
MAKING THE EARS Step one Cut out two outer ears and two inner ears from the remaining hand towel fabric. If you had to shorten the towel length at the start you may have some spare bath towel fabric from which you can cut out the inner ear pieces to make a contrast. If not, the inner ear will be the same colour as the outer. The inner ear pieces are slightly smaller than the outer ear pieces, which will give them a more dimensional look. 10 Step two Place the two ear pieces RS together and begin sewing with the edges together as shown, then start to ease the two pieces together (pulling on the inner ear piece to align its edges with the outer piece) as you sew, or tack first then sew. Leave the straight edge open. 11 Step three Turn ears to the RS and either fold in the raw edges or oversew the raw edges together as we have done, to reduce bulk. Step four Securely hand-sew the ears to the hood with small, neat stitches to finish. 12
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Ensure the ears are attached to the towel securely by sewing the joins more than once.
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BEAUTIFUL KNIT FABRICS SEWING PATTERNS GIFTS & ACCESORIES
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tiger tea party Bring a party vibe to playtime with Anna Alicia's appliquĂŠ tiger cushion complete with a pom pom hat. This tiger's got its hat on, hip-hip-hip-hooray!
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YOU WILL NEED
Q Main fabric: 45x70cm (18x28in) Q Lining fabric: 45x70cm (18x28in) Q Appliqué fabric: 10x15cm (4x6in) in the following colours: peachy pink for the ears and nose, orange for the upper nose, mint green for the eyes, brown for the stripes Q Contrast fabric: 15x15cm (6x6in), for the hat Q Iron-on interfacing: 25x25cm (10x10in) square Q Bias binding: 16x2.5cm (6½x1in) wide Q Pom pom trim: 20cm (8in) x approx 1.5cm (5⁄8in) pom pom width Q Black cord or yarn: 40cm (16in) Q Toy stuffing: 250g bag Q Matching thread Q Basic sewing kit
CUTTING OUT Step one From the orange fabric cut: Upper nose: one using the template. Step two From the peachy pink fabric cut: Nose: one using the template. Inner ear: two using the template. Step three From the brown fabric cut: Central stripe: two using the template. Outer stripe: four using the template. Step four From the mint fabric cut: Eyes: two using the template. Step five From the contrast fabric cut: Hat: cut one using the template. Step six From the main fabric cut: Cushion front and back: two using the template. Outer ear: four using the template. Step seven From the lining fabric cut: Cushion lining: two using the template.
ADDING THE APPLIQUÉ Step one Lay the nose pieces, inner ear pieces, stripe pieces and eye pieces face-up on the iron-on interfacing (with shiny side of the interfacing facing up) and pin into place. 01 Step two Cut around the shapes then press to fuse – this will stop them from fraying too much around the cut edges. Step three Pin the inner ear pieces to two of the outer ear pieces, with the wrong side (WS) of the inner ear piece facing the right side (RS) of the outer ear pieces so that the bottom edges line up.
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Step four Sew around the curved edge of the inner ear pieces with a wide zigzag stitch to secure. 02 Step five Lay out the sewn ear piece face-up, then lay the other outer ear pieces on top, face-down. Step six Pin then sew around the curved edges with a 1cm (3⁄8in) seam allowance, leaving the bottom edge open. Turn the ears RS out and press. 03 Step seven Fold the bottom corners of the assembled ear pieces in towards the middle of the bottom edge, so they are about 1.5cm (5⁄8in) apart. Pin the folds in place and then zigzag stitch along the bottom edge of each ear to hold the folded corners in place. Step eight Lay one of the cushion pieces out with the point at the top. Place the appliqué pieces (apart from the ears) RS up on top, referring to the finished image for placement, and pin in place. The top of the orange nose piece should tuck about 5mm (¼in) underneath the bottom edge of the hat. Step nine Fold the bias binding in half WS together so the long edges meet and shape it around the bottom edge of the hat piece. Pin in place. 04 Step ten Sew around the edges of the nose, eyes and stripe pieces with a wide zigzag stitch, unpinning and folding the bottom edge of the hat out of way while you sew the nose in place. 05 Step eleven Fold the hat’s edge back down and add pom pom trim under the binding. Step twelve Sew along the binding on the hat with a wide zigzag stitch – this will hold the pom pom trim in place and finish the edge of the hat. 06
party tig r cushion 04
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ADDING THE EYES AND MOUTH Step one Use a couching stitch to sew the black cord or yarn in place for the mouth. 07 Step two Use a single, long stitch in the cord or yarn for each of the three lashes, just above each eye. 08
For added durability, sew over the ear joins twice to secure them.
ASSEMBLING THE CUSHION Step one Place a lining piece together with the outer face piece with WS facing. Pin the ears in place a couple of centimetres from each side of the hat, face-down and pointing inwards, with their bottom edges in line with the edge of the face panel. 09 Step two Lay the back outer piece on the front outer piece RS together, and finally place the lining piece on top. Pin in place all the way around. Step three Sew using a 1cm (3â „8in) seam allowance, leaving a 6cm (23â „8in) turning gap. Snip into the seam allowance around the curved edge. 10 Step four Turn RS out then stuff with toy stuffing. Pin then hand-sew the turning gap closed. 11 Step five Securely hand-sew a single pom pom, cut from the pom pom trim, to the hat tip. 12
Anna has a passion for eco, ethical and handmade, and creates jewellery, homeware and other bits and bobs for her label, A Alicia. Follow her at www.instagram.com/ aalicialondon
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sweet treat
Gift a star baker handmade goodies of a different kind with Minki Kim's matching quilted oven mitt and pot holder duo.
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baking s t 01
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oven mitt
YOU WILL NEED
Q Outer fabric: 46x57cm (18x22in) Q Mitt panel fabric: 46x57cm (18x22in) Q Lining fabric: 60x115cm (24x45in) Q Outer binding: 30x115cm (12x45in) Q Inner binding: 30x115cm (12x45in) Q Heat-resistant wadding: 50x115cm (20x45in) (see notes) Q Binding clips (or quilting clips) Q Basic sewing kit FINISHED SIZE Approx 33x18cm (13x7in). FABRICS USED From the Someday collection by Minki Kim for Riley Blake Designs. See more at www.rileyblakedesigns.com
CUTTING OUT Step one From the outer fabric cut: Front outer mitt: one 35.5x20cm (14x8in). Back outer mitt: one 33x20cm (13x8in). Step two From the mitt panel fabric cut: Mitt panel outer: one using the template. Step three From the lining fabric cut: Front lining: one 38x23cm (15x9in). Back lining: one 38x23cm (14x9in) Mitt panel lining: one using the template. Step four From the heat-resistant wadding cut: Front mitt wadding: two 38x23cm (15x9in). Back mitt wadding: two 38x23cm (14x9in). Mitt panel wadding: three 26.5x21.5cm (10½x8½in). Step five From the outer binding fabric cut: Outer binding: 7.5x115cm (3x45in). Step six From the inner binding fabric cut: Inner binding: 3.5x115xm (1½x45in).
QUILTING THE MITT NOTES Q Use a 5mm (¼in) seam allowance. Q It is important to use heat-resistant wadding as regular wadding will not protect your hands from heat. Q Download the templates from www.simplysewingmag.com/ downloads
80 WWW.SIMPLYSEWINGMAG.COM
Step one Sandwich the front outer mitt fabric, the two front mitt wadding pieces and the front mitt lining piece together with the wrong sides (WS) of the fabric facing the wadding. Pin in place. Step two Quilt as desired. We quilted straight vertical lines 2.5cm (1in) apart. Step three Trace the mitt front template onto the quilted piece using an erasable fabric marker and
sew 3mm (1⁄8in) inside all the way around. Trim away the excess. Step four If you want to add a cotton label, sew one to the outer fabric front piece centrally and approx 6cm (23⁄8in) below the straight edge. Step five Repeat to assemble the mitt back pieces, remembering to use the correct template to trace around and to omit the cotton label. 01 Step six Place the mitt panel template onto the three layers of mitt panel wadding. Trace the template dotted line. Step seven Sew along the horizontal line – this stitch line will allow for easy folding when wearing the oven mitt. 02 Step eight Trim away any excess batting close to the outer stitch line. Step nine Place the mitt panel wadding on the WS of the mitt panel outer, then place the mitt panel lining on the wadding, right side (RS) up. Step ten Pin in place and zigzag stitch around the outer stitch line, sewing through all the layers. 03
ASSEMBLING THE MITT Step one With RS together, place the assembled mitt panel piece to the assembled mitt front piece, matching all edges. Hold together using binding clips. Step two Matching remaining edges, clip the assembled back mitt to the mitt panel. 04
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Step three Sew the round edges together, then sew the remaining side layers together. 05 Step four Bind the round edges of the back mitt lining as shown in the image. 06 Step five Bind the remaining raw edges of the mitt lining. Fold the raw edges of binding over to the other side and fold the raw edge over neatly then pin in place. Step six Topstitch along the folded edge to finish the binding. You may need to skip sewing over the bulky parts at the sides of the mitt panel section as the multiple layers may be difficult for your machine to sew. 07 Step seven Hand-stitch the unsewn bindings in place if you did not sew over the joins.
FINISHING OFF Step one Turn the mitt RS out. Draw a horizontal line 2cm (¾in) from the mitt opening and use this as a guide for the first binding stitch line. Step two Fold one short edge of the binding over to the WS by 1cm (3⁄8in) and press. With RS together, place the raw edge of the outer binding along the marked line and pin in place. Step three Sew the binding to the oven mitt. 08 Step four Turn the binding over to the inside of the mitt so that it covers the raw edges of all fabric layers. Pin into place and press. Step five Hand-sew or machine topstitch to finish.
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pOT HOLDER
YOU WILL NEED
Q Outer fabric: 25x25cm (10x10in) Q Backing fabric: 25x25cm (10x10in) Q Heat-resistant wadding: 25x50cm (10x20in) Q Binding: 6x115cm (2½x45in) Q Cotton label (optional) Q Basic sewing kit FINISHED SIZE 20x20cm (8x8in). NOTE Q Use a 1cm (3⁄8in) seam allowance.
CUTTING OUT Step one Cut the heat-resistant wadding into two equal pieces.
QUILTING THE POTHOLDER Step one Sandwich the outer fabric, two layers of heat-resistant wadding and backing fabric together with the wrong sides (WS) of the fabric facing the wadding. Step two Pin into place and then quilt as desired. We quilted criss-cross lines 1cm (3⁄8in) apart, but you can choose any pattern you like. Step three Trim the quilted piece so it measures 20x20cm (8x8in). Step four Using a spool of thread or a similar small round item to trace, round off all four corners of the pot holder.
BINDING THE POT HOLDER Step one Take the binding strip and fold it in half lengthwise with WS together. Press along the fold. Step two Place the folded binding strip RS together with the pot holder, matching up the raw edges, and pin. Step three Sew the binding into place, then fold the binding to the back, press and then handstitch into place. Step four Attach a decorative cotton label to one corner if desired for hanging.
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bag of tricks Carry all the stitching essentials to your next sewing class or weekend away in style with Debbie von Grabler-Crozier's vintage-inspired zip-up case.
s wing cas 01
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YOU WILL NEED
Q Outer fabric: 60x115cm (24x45in) Q Lining fabric: 60x115cm (24x45in) Q Contrast fabric: 45x115cm (18x45in) Q Iron-on wadding: 50x90cm (20x35in) Q Foam interfacing: 1.2mx75cm (1½ydx29½in) Q Clear vinyl: 46x57cm (18x22in) Q Heavy duty zips: 2 x 50cm (20in) Q Zip: 30cm (12in) Q Cotton webbing: 25x3cm (12x1¼in) Q Cotton piping cord: 2.5mx4mm (2¾ydsx1⁄8in) Q Basic sewing kit FABRICS USED Marked Sights and Blossoming Mosaic from the Craft Bound Capsules collection by Art Gallery Fabrics. Warm Wave from the Pure Elements collection by Art Gallery Fabrics. For stockists visit www.hantex.co.uk NOTES Q Use a 5mm (¼in) seam allowance. Q Cut wadding/foam slightly smaller than the fabric (5mm all around) to reduce bulk in seam allowance. Q Zips, webbing and piping cord from www.jaycotts.co.uk
84 WWW.SIMPLYSEWINGMAG.COM
CUTTING OUT Step one Download the templates from www. simplysewingmag.com/downloads, print and cut them out. Step two From the outer fabric cut: Top and base outer: two using the template. Upper side outer: 3.5x94cm (13⁄8x365⁄8in). Lower side outer: 10x94cm (13⁄8x365⁄8in). Back panel outer: 14x15cm (5½x6in). Handle trim: one piece 3x30cm (1¼x12in). Step three From the lining fabric cut: Top and bottom lining: two pieces. Upper side lining: 3.5x94cm (13⁄8x365⁄8in). Lower side lining: 10x94cm (13⁄8x365⁄8in). Back panel lining: 14x15cm (5½x6in). Zip end tabs: four pieces 4x5cm (15⁄8x2in). Zip pocket top: two using the template. Vinyl pocket top edge binding: two strips 3x36cm (1¼x141⁄8in). Internal binding: cut strips to make bias tape measuring 3.5cmx2.5m (13⁄8inx2¾yds). Step four From the contrast fabric cut: Piping: cut strips to make bias tape measuring 3.5cmx2.5m (13⁄8inx2¾yds). Step five From the vinyl cut: Internal pocket: one piece 18x35cm (7x13¾in). Step six From the iron-on wadding cut: Top and base wadding: two using the template. Upper side wadding: one using the template. Lower side wadding: 10x94cm (13⁄8x365⁄8in). Back panel wadding: 14x15cm (5½x6in).
Step seven From the foam interfacing cut: Top and base foam: two using the template. Upper side foam: 3.5x94cm (13⁄8x365⁄8in). Lower side foam: 10x94cm (13⁄8x365⁄8in). Back panel foam: 14x15cm (5½x6in).
PREPARING Step one Cut 25cm (10in) of webbing. Fold the long edges of the handle trim piece to the wrong side (WS) by 5mm (¼in) each side and press. Step two Lay the trim over the webbing, allowing it to extend off of each end by an equal amount. Topstitch along each side close to the fold. 01 Step three Prepare the main zips by folding the open end tapes to the side and secure with a small hand-stitch. 02 Step four Tack the internal zip ends together. 03 Step five Sandwich the ends of the internal zip with the zip end tabs with right sides (RS) of the fabric facing the zip. Sew across, then flip them over and topstitch to neatly secure. 04 Step six Repeat on the other end, then trim both end tabs to the same width as the closed zip. Step seven Sew the contrast fabric strips together to form one 2.5m (2¾yd) length. Step eight Place the piping cord inside the contrast fabric binding strip and pin the fabric WS facing, encasing the cord. Sew along the entire length using a zip foot. 05 Step nine Use the top/base template to round the bottom corners of the vinyl internal pocket.
s wing cas 04
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MAKING THE INTERNAL POCKET Step one Take the two zip pocket top strips and the internal zip. Make a zip sandwich with the RS of the strips facing the zip tape and pin. Sew along the length of the zip tape using a zip foot. 06 Step two Flip the strips the right way out (the two curved corners should be uppermost now) and topstitch along the length of the zip. Step three Sandwich the vinyl pocket between the vinyl pocket top edge binding strips with RS of the fabric facing the zip. Sew in place, then flip the fabric strips over and topstitch. One binding strip will now be on the front of the zip and one will be on the back of the zip. Step four Take the zip pocket top section and the vinyl section and, folding the back binding strip out of the way, attach the zip to the front binding strip. 07 Step five Fold the back binding strip raw edge over by 5mm (¼in) and hand-stitch it in place along the back of the zip. Topstitch from the RS. 08
MAKING THE CASE TOP Step one Press the iron-on wadding to the top outer piece. Tack this interfaced piece to the foam wadding, keeping the fabric taut. Step two With WS together, tack the top lining to the underside of the top outer. Pipe the edge with piping. There are a few layers of fabric at this stage, so sew slowly and consider using a walking foot which will handle the layers a lot better. 09
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Step three Tack the vinyl pocket to the lining side.
MAKING THE BASE Step one Press the base wadding to the outer fabric base piece, then tack the foam wadding to this piece as for the top piece. Step two Place the base lining piece WS together with the foam wadding and tack. Pipe the edge.
MAKING THE SIDES Step one Press the upper and lower wadding pieces to the WS of the their corresponding outer fabric pieces, then tack these pieces to their pieces of foam wadding. Don't tack the lining yet. Step two Arrange the two zip pulls so that their opening ends meet at the centre of the lower side outer piece. You can tack the tapes at each opening together so they are stable. Step three Take the assembled lower side outer and the lower side lining piece and the make a zip sandwich with the RS facing the zip. Sew along the length of the zip and then flip the layers open and topstitch along the length. 10 Step four Repeat to attach the upper side panel outer and lining to the other side of the zip. Step five Attach the handle to the centre of the lower side outer piece 2.5cm (1in) down from the zip edge and 35cm (13¾in) in from either end. This will mean that the handle is not completely flat, so that you can pick the case up. Step six Fold the extra fabric at each end under
the webbing handle end and stitch the handle to the bag with a crossed square of stitching. 11 Step seven Trim the foam wadding for the back panel to 14cm (5½in) wide and 12cm (4¾in) long. Lay the foam centrally on the outer panel. It will be flush on the top and bottom but there will be small overhang of fabric each side. This is the seam allowance plus a bit of ease. Step eight Tack the foam on all the way around. Step nine Take one end of the assembled side zip panel, the back panel and the back panel lining and make a sandwich, trapping the zip section between the back pieces, which will be RS together and with the zip section RS facing the back panel outer RS. Stitch along the sandwiched edge. If your zip is open ended, cut the bulky end plus the excess off once sewn. Step ten At the other end of the zip join the outer panel only, then on the inside of the case fold the raw edge of the lining back panel over and handstitch in place. 12 Step eleven Zigzag the edges of all panels and trim where necessary.
ASSEMBLING THE CASE Step one Pin or clip the case top to the top of the upper side panel with outer fabrics RS facing. Step two Sew the pieces together using a zip foot then trim the raw edges if necessary. Step three Open the zip and repeat for the base. Step four Bind the internal raw edges to finish.
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Here are the templates you will need to make some of the projects in Simply Sewing issue 52.
FEATHER STITCH PAGE 49
ACTUAL SIZE
Thank you for making these projects from Simply Sewing. The copyright for these templates belongs to the designer of the project. They work hard to create projects for you to enjoy, so please don’t re-sell or distribute their work without permission. Please do not make any part of the templates or instructions available to others through your website or a third party, or copy it multiple times without our permission. Copyright law protects creative work and unauthorised copying is illegal. We appreciate your help.
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PARTY TIGER CUSHION
TEMPLATES EYE Cut 2
PAGE 75
ACTUAL SIZE
NOSE Cut 1 INNER EAR Cut 2
UPPER NOSE Cut 2 OUTER EAR Cut 4
OUTER STRIPE Cut 4 HAT Cut 1
INNER STRIPE Cut 2
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TEMPLATES
CIRCLE CUSHION PAGE 23
ACTUAL SIZE
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2 LenGths
2 StyLes dress lengths Includes two ns to sew. and strap optio
skirt and Includes two options. sleeve length
Knee LenGth e-knee Includes an on-th wear. skirt for easy
DRESS B BACK
DRESS B BACK
BACK
c r
IssUe 48 Make a party dress, quick-sew gifts, modern Xmas decs, a gingerbread house toy and a circle skirt.
IssUe 47
IssUe 46
Make a tie-waist dress, bowling bag, ruffle dress, children’s room makes and a classic rag doll toy.
Stitch a boho dress and top, 1950s-style skirt, circle bag, home spa set, hexie cushion and teddy bear.
2 Ways to OrdEr Visit the website: www.sewingquarter.com or call 0800 112 4433 *Calls will be charged at your local call rate, calls from mobiles may vary. All prices exclude p&p. All orders subject to availability.
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The guide FRESH IDEAS WITH FABRIC
PinKing SheArs These cut a zigzag edge on fabric to neaten.
ma on, useful stitches and key sewing techniques on these pages.
MarKing pen Transfer markings to your fabric, then wash them out when finished.
Tape MeaSure
Pins
A flexible fabric tape measure will take accurate measurements.
Stainless steel pins with sharp points are best.
SheArs Keep a pair of sharp shears just for cutting out your fabric.
FabRic CliPs Use these instead of pins when sewing thicker fabrics.
MarKing PenCil Choose a colour that shows up on your fabric.
SmaLl SciSsors Use for snipping threads and cutting notches.
TaiLoR’s ChaLks Chalk temporarily marks fabric and can be easily brushed away.
ThiMble Wear to protect your fingers when handstitching.
Seam RipPer This sharp blade cuts through and unpicks stitches.
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The guide FRESH IDEAS WITH FABRIC
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
HeiGhT 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 different 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.
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.
JeaNs
A strong needle, ideal for stitching several layers of fabric or tightly woven fabrics like denims.
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ShaRps
With a sharp point, these are for sewing very fine and delicate fabrics and neat buttonholes.
LeaTher
This needle’s wedge-shaped cutting point is used to work strong seams on non-woven fabrics like leather, suede and vinyl.
StrEtch
Designed for sewing two-way stretch knits such as lycra and silk jersey. It prevents skipped stitches on fine knit fabrics.
QuiLting
This will pierce multiple layers whilst keeping straight stitches so it is ideal for patchwork and machine quilting.
TopStItch
This has an extra-sharp point and eye, so thicker topstitching thread can be used. It’s perfect for straight stitching with thicker threads on any type of fabric.
Twin
Used for parallel rows of stitching such as pintucks and hems.
ONCE YOU HAVE FINISHED stitching your seam, it’s best to press it open on the wrong side so it lies flat. Sometimes it’s better to press it to one side to reduce bulk but the pattern instructions will tell you this. Usually the seam allowances are left as they are as they help to strengthen the seam, but sometimes they cause too much bulk so they are trimmed to half their original width. If your fabric has a tendency to fray you should neaten the raw edges after you have worked the seam. There are several ways of doing this. To machine-finish them, set your sewing machine to the zigzag stitch then stitch close to the raw edge all the way along. The zigzag must be small enough to stop the fabric from fraying but large enough to enclose the bulk of the fabric. Practise a few lengths and widths before you begin. Alternatively, you can trim the raw fabric edges with a pair of pinking shears. If you have an overlocker then you can stitch, cut and finish the seams all in one process.
UK SIZE
US SIZE
FABRIC
60
8
Silks
70
10
75
11
80
12
90
14
100
16
110
18
120
20
Lightweight fabrics Medium weight fabrics Medium weight fabrics Medium weight fabrics Heavy weight fabrics Upholstery fabrics/denim Heavy canvas
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The guide FRESH IDEAS WITH FABRIC
GLOSSARY 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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STITCH GUIDE
For a full glossary of sewing terms visit www.simplysewingmag.com
in sewing such as zips, fasteners, lace and buttons.
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.
Use these basic hand stitches to complete your home and dressmaking projects. 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.
SQUA RE DRESS W NECK SLEEVE ITH TWO OPTIONS !
Square neck dress Quilted play mat Embroidered jumper Self-drafted tunic Sewing machine cover Baby skirt and bib Lamb plushie toy Bucket bag pattern and more...
3 GIFTS +For you! dresS patTern shirT PatTern measUring guidE
PATTERN WORTH £9.50
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my favourite thing
DREAM MACHINE MACHINE DREAM
Claire-Louise Hardie shares the treasured machine that has revolutionised her sewing for both work and pleasure. "I fell in love with this semi-industrial Janome machine while working on The Great British Sewing Bee series two, after using it to test for the nylon anorak challenge. I couldn’t justify getting one though, so it went back with the other loaned machines at the end of series. Cut to summer 2017, and I’m working on tailoring alterations for the Slaughterhouse Rulz movie. We’re struggling with domestic machines on wool jackets, but have no space on location for an industrial machine. Bingo! I remember the MC660p and, as I was moving on to run a workroom for Matthew Bourne’s Cinderella, it was just what I needed! As a professional stitcher, time is money, and being able to sew twice as fast means you can get things done in half the time. Not only
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did the machine cope with wool tailcoats and military uniforms, it sewed through delicate beaded lace as well. My tailors fell in love with it too and I had to queue to use it! If you’re passionate about sewing, this machine offers the power of an industrial, and it combines industrial precision with all the delicate functionality of a domestic machine. My favourite functions are the integrated accufeed system that made light work of that lace, and the fantastic buttonholes. Oh, and let’s not forget the scissor function! It's often tucked under my cutting table when I teach, or out on location with me. This photo was at my studio, where I was sewing for pleasure and just enjoying my machine!" See more at www.thethriftystitcher.co.uk
n i y a St ! h c u o t
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