IH NE C A M G IN W E S 9
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SewIng bee
PinCuShiO
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FRESH IDEAS WITHFABRIC new SerIeS!
BRAND NEW PATTERN!
THE AM LIE
DRESS SET IN SIZES 6-20
Troubleshooting Needle know-how Handy accessories
6 stylish wardrobe updates to sew this weekend!
+ by Hand LonDo n SarAh ShiRt
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NEW SKILLS: Easy quilting Scalloped hems Embroidery Draft your own dress
INNOV-IS VR Embroidery machine
Free-arm embroidery and free-motion sewing capability. • Includes wide table to support large projects & quilts • Unlimited space with the completely free arm • Large 200 x 200 mm embroidery area • Free arm embroidery perfect for pockets & sleeves • 305 built-in embroidery patterns • 20 built-in embroidery fonts
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INNOV-IS F440E Embroidery machine
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Versatile embroidery functions allow you to add colour and design to almost any project.
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PE-Design PLUS 2 worth £349
• 138 built-in embroidery designs • On-screen editing, including letter editing, • Enhanced zoom, resizing, rotating, repositioning and combining designs • Advanced needle threader • Quick-set bobbin and winder • Automatic thread cutter
INNOV-IS 1100 Sewing machine
Packed with advanced features and an extralarge work area. You will love the space and versality this machine offers. • Large 8.3” (210 mm) work space to the right of the needle • 140 built-in stitches, including 10 buttonhole styles • 5 Styles of lettering (uppercase) • Automatic thread cutter • SFDS: Square Feed Drive System • Knee lift • Memory function • Needle up/down setting • Hard case
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t Creative Quilt Ki 9 .9 49 £1 worth
INNOV-IS A80 Sewing machine
Strong and lightweight, the A80 comes with its own hard case, which make it perfect for travelling. This simple-to-use machine has something for every project. • • • • • • •
A total of 80 built-in stitches Advanced one-action needle threader Lock stitch button 8 styles of 1-step automatic buttonhole Drop feed - for freemotion sewing Quick set top loading bobbin for easy threading Slide type speed control
For full details visit your www.brothersewing.co.uk or visit your local Brother stockist. brothersewing.co.uk
£449 FREE
t Creative Quilt Ki 9 .9 worth £149
Dealer List Scotland David Drummond Edinburgh EH12 5HD Karelia House Aberfeldy PH15 2LS NJ Sewing Machines Brightons FK OUF Pembertons Sewing Machines Stirling FK8 1HA Quilt Creations Inverness IV1 1EP The Sewing Machine Shop Fochabers IV32 7DU
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North West Affordable Sewing Machines Moreton CH46 9AQ Bamber Sewing Machines Eccles M30 7HY Cumbria Sewing and Craft Barrow-in-furness LA14 1DS Etty Lilly Bolton Le Sands LA5 8DB Fabrics at Fleetwood Fleetwood FY7 6DU Hobkirks Sewing Machines Blackburn BB2 2AJ Jaycotts Sewing Machines Chester CH1 4LT Lord’s Sew Knit Centre Accrington BB5 3DE M&S Sewing Machines Heywood OL10 4NN Temptations Bentham LA2 7HQ Weaverdee Middlewich CW10 0GF
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FRESH IDEAS WITH FABRIC “It’s time all of us to start making, upcycling and treasuring our clothes,” says fashion designer, lecturer and Great British Sewing Bee judge Esme Young. We couldn’t agree more. This month marks our 4th birthday and we couldn’t be prouder to be providing a platform for you to be inspired, engaged and educated by your hobby. Whether you’re fine-tuning your dressmaking skills, learning to mend your clothes, or upcycling them into new ones − everyone’s welcome. And if you’re brand new to sewing, come on in − you’re going to love it.
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nnerg a b a n e Makyour sewi for ace, p18 sp ISSUE FIFTY THREE
FRESH IDEAS WITH FABRIC
CONTENTS
Sew The Dress, Apmélie 34
P18 8 MAKES FORYOUR
grEat pAtterNs foR you
how To...
18 SEWING ROOM MAKES 32 PATTERN: THE AMÉLIE DRESS
43 KNOW YOUR: NEEDLES 71 EMBROIDERY: NEEDLE WEAVING
38 PATTERNLESS: COCOON DRESS
Make a tooth fairy pillow
46 PATTERN: THE SARAH SHIRT
78 WORKSHOP: SEWING MACHINE
53 TRANSFORM: SCALLOPED HEM
Basic machine troubleshooting
55 LUXURY BUCKET BAG
93 SEWING GUIDE
59 TRANSFORM: CARDIGAN UPDATE
Tips, techniques and
61 EASY-SEW ZIPPER POUCH
a glossary
69 KIDS: BABY BIB AND SKIRT SET 75 EASY PATCHWORK PLAY MAT 85 TOY: PLUSHIE LAMB 89 EMBROIDERED SPRING HOOP
91 REVERSE APPLIQUÉ BLANKET
64
The fAshioN low-down from ewinG bee judgE esmE younG Photo: BBC/Love Productions/Mark Bourdillon
Sew plushiae soft toy, p8la5 mb
WardrObe mAkeoveR
59
win SewIng MacHine + GooDies WorTh £759
With the latest seriees h of The Great British Sewing Beee in full swing (how fab is their new host Joe Lycett, by the way?), ?), there's never been a better time to start sewing. Whether you're new to dressmaking, or you're looking to expand your handmade wardrobe, check out our shop at www.simplysewingmag. com/pattern. We've given it a makeover and added your favourite patterns from our archives (see page p42). Until next time, tag your photos on Instagram #simplysewingmag − we love l seeing i your ma akes!
Charlie Moorby, Moorby Editor
Enter for your chance to win a Janome M200 QDC sewing machine - plus a haberdashery bundle from Gütermann and Groves.
89
Turn to p14 + 15
9 PINBOARD: Ideas, events, new fabric 14 WIN: HABERDASHERY BUNDLE 15 WIN: JANOME SEWING MACHINE 50 COLUMN: RACHEL PINHEIRO 64 PROFILE: ESME YOUNG 67 PIN UP: MEASURING GUIDE 80 FEATURE: RUBY STAR SOCIETY 84 BACK ISSUES TO COLLECT 97 COMING UP NEXT MONTH 98 MY FAVOURITE THING
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goOd readS & ideaS
CONTRIBUTORS
FRESH IDEAS WITH FABRIC
ful my colousr.com” f o e r o m wen “See ww.chloeo work at w
“I started sewing because I wanted to make something personal.”
Photo: BBC/Love Productions/Charlo
tte Medlicot t
Huge thanks to these clever sewists...
EDITOR Charlie Moorby SENIOR ART EDITOR Lisa Jones PRODUCTION EDITOR Michelle Grady TECHNICAL EDITOR Roisin McKenna DIGITAL EDITOR Zoe Williams PHOTOGRAPHY Philip Sowels, Dave Caudery and Jesse Wild COVER PHOTO 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
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
CHLOË OWENS
Textile artist Chloë salvages vintage fabrics, combining them with contemporary prints, and stitched designs over the top using her trusty sewing machine. Find out how to make her adorable set of baby gifts on page 69.
ESME YOUNG
Central Saint Martins lecturer, fashion designer and celebrated Great British Sewing Bee judge Esme Young talks to us about why it’s time all of us started making, upcycling and treasuring our clothes. Read more on page 64.
U
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
BY WILLIAM GIBBONS
“See my handmade wardrobe on instagram @houseofpinheiro.” RACHEL PINHEIRO
Brazilian-born, Rachel has a distinctive sense of style which she mixes her heritage flair with classic tailoring. Explore her ever-expanding wardrobe at www.houseofpinheiro.com and find out what inspires her on page 50.
“Browse more of our patte at www.byhandlondon.comrns .” ELISALEX DE CASTRO PEAKE
Elisalex is the co-founder of indie pattern label By Hand London. Their patterns are inspired by and named after stylish ladies they admire, and offer a new take on classic designs. Find their Sarah Shirt pattern on page 46.
EDITORIAL TEAM simplysewing@immediate.co.uk SUBSCRIPTIONS TEAM simplysewing@buysubscriptions.com 03330 162 149
THURSDAY 21ST MARCH 2019 No gift included? Ask your newsagent. Covergift may be unavailable overseas.
OTHER CONTRIBUTORS Anna Alicia, Lucy Brennan, Sarah Dawson, Jessica Entwistle, The Fold Line, Sarah Gane, Mollie Johanson, Minki Kim, Portia Lawrie, Marion Grandamme, Lana Red Studio, Selkie Patterns, Lucy Ward, Estelle Zanatta Special thanks to: Nicky Gotobed
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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.
MACHINE SEWING MACHINE MANUAL 4-STEP BUTTONHOLE FOOT ALL PURPOSE FOOT ZIPPER FOOT DARNING/EMBROIDERY FOOT DARNING/EMBROIDERY PLATE BUTTERFLY SHAPE SCREWDRIVER SEAM RIPPER/BRUSH
...the brand-new Gemini Stitch sewing machine, the ideal starting point for any crafter wanting to start their sewing adventure or reignite their love for sewing. Unlock the full potential of the Gemini Stitch by allowing it to join creative forces with the Gemini diecutting machine and take mixed-media projects to a whole new level!
Visit www.crafterscompanion.co.uk for more information
LUBRICATING OIL 3 NEEDLES 3 BOBBINS TWIN NEEDLE SMALL AND LARGE SCREWDRIVER SPOOL HOLDER FELT SPOOL PADS
W rld Craft Week 25
–
31
MARCH
2019
World Craft Week is back and this year we are launching our #makeitmindful campaign. Join us for a week of mindful crafting as we celebrate our creative hobbies and what they mean to us. We promise to bring you inspiring projects, tutorials, competitions and much more! SIGN-UP NOW VQ ƂPF QWV JQY [QW can get involved plus you will receive a FREE downloadable craft magazine packed with super craft projects.
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DIGI MAG!
Sign up now! www.worldcraftweek.com
IDEAS
INSPIRATION
ACCESSORIES
WEBSITES
EVENTS
STUFF
MAKING MATTERS
The founder of Melilot patterns, Norway-based Mari Melilot, is a designer on a mission: to change how people relate to their clothes through sewing. Her collection is all about discovering the joys of making by hand, honing your personal style, and embracing a slow, thoughtful approach to fashion. Find the patterns at www.melilot.no
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SKILLSBOOST Do you know your W
ColOuRful LivIng
Does your home ‘spark joy’, Marie Kondostyle? Penelope Hope’s jubilantly colourful designs certainly will! Founder and designer Nadia Newton creates prints inspired by her travels – think palm tree, pineapple and marble motifs, on homewares and by-themetre fabrics. See www.penelopehope.com
quilting from your quilt sandwich, your blocks from your binding? Discover a new craft or refresh your knowledge with Beginner’s Guide to Quilting, a special edition that covers everything needed to get you started on your next patchwork project. Inside, you’ll find technique-filled how-tos and inspiring makes, from stylish cushions to stashbusting pouches, as well as, of course, beautiful beginnerfriendly quilts. £9.99 from www.buy subscriptions.com
HAPPYBUNNY
Indulge in some childhood nostalgia with The Craft Cotton Company’s ten adorable prints starring Dick Bruna’s iconic little bunny, Miffy. The two fabric collections, Miffy Bedtime and Miffy Spring, come in a bright, fresh spring colour palette and are printed on 100% cotton, so are perfect for cuddly quilts, home projects and cute makes for little ones. Let's hop to it! Available by the metre and in fat quarter packs – for stockists visit www.visagetextiles.com
SEW AND SOW
Lori Holt does rustic farm life in her trademark charming retro style with her latest Farm Girl Vintage collection for Riley Blake Designs. From ditsy daisies to tiny tractors, shiny little red apples to delicate teeny seedlings, every detail of traditional country living is given a colourful, cutesy twist, with mixer prints including classic gingham, houndstooth and plaid. Printed on 100% cotton, we’ve got a colourful summer quilt in mind for these, or perhaps a set of cooking accessories for a fun country-kitchen vibe. Home sweet home on the range! Go to www.rileyblakedesigns.com
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Escape to the country with Riley Blake's farmthemed new colleciotn.
Pinboard
CHRISTIAN DIOR Oriole Cullen (£40, V&A Publishing) Relive the V&A exhibition, Christian Dior: Designer of Dreams, with this souvenir book that celebrates Christian Dior’s work, from the brand's inception in 1947 to the present day. Haute-couture gowns by Dior, and the designers that followed him, are showcased alongside Oriole Cullen’s expert commentary. It’s a must-have souvenir for any fashion devotee. www.vam.ac.uk
mini profile LINEN AND STRIPES We’ve all gone a bit overboard with piling up cushions on our sofas, beds and chairs, right? For Anna and her husband Istvan, though, it was the beginning of a new, exciting venture – their handmade homewares brand, Linen and Stripes. “Our flat was full of my cushions and we had no more space for new designs, but I still had so many ideas,” she explains. “So Istvan suggested selling them online on Etsy. We launched the shop together in 2015.” What started out as a side project soon took off. “After a few months, sales were picking up and we started to sell more and more covers. So I quit my job 10 months after we opened our shop. We saw great potential in the shop and wanted to see what would happen if I put all my energy into it.” And that she did! “I used to work at least 45-50 hours a week. I did the customer service, admin work and SEO in the mornings, and in the afternoons I sewed, packaged and sent orders. I also had time for creative work and new design ideas.” Since the arrival of their daughter last year, though, “I don’t have a typical working day,” says Anna. “I work before she wakes up, during nap times and sometimes even the evenings when I have to. But I have help now – we have a sewing assistant, Virag, and she is amazing. I only have a tiny bit of time for sewing (mostly the new designs) and I do miss it, but hiring help in the early weeks of my pregnancy was the best decision we have ever made!”
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When dreaming up new products, Anna’s “process is really natural – I don’t sit down to design, I do something else and an idea just pops in my mind and I have to do a sketch straight away. My biggest inspiration comes from fabrics. I see fabrics and I mix and match them together until I feel it is right. Sometimes I see a unique couch or a vase and I love it so much I want to include the pattern or colour in my designs. As our product line reflects, I like simple, clean, modern, but classic designs, and I absolutely love classic stripes and soft linens – that’s where our name comes from.” Quality, style and unique design keep Linen and Stripes’ customers coming back – and there’s plenty in store for the future, too. “Our biggest hope is to grow Linen and Stripes to become a well-known brand, so we would see our products in more and more customer’s homes. We work really hard to ensure our customers are satisfied with our sustainable, stylish, simple designs. I hope people realise how valuable handmade products are and will buy quality instead of quantity in the future.” Visit www.linenandstripes.etsy.com
Anna's beautiful cushions are created with quality and sustainability in mind.
FEMINIST CROSSSTITCH: 40 BOLD AND FIERCE PATTERNS Stephanie Rohr (£14.99, Lark Books) Add a little sass to your stitching projects with this book of 40 vintage-inspired cross stitch patterns for crafty activists, with subversive slogans, clever one-liners and affirmations to stitch for your wall or sew into handmade gifts. To get you started, there’s also a basics section with clear illustrations. www.larkcrafts.com
THREADS OF LIFE Clare Hunter (£14, Sceptre) Stretching from medieval France to contemporary Mexico, from a POW camp in Singapore to a family attic in Scotland, Threads of Life is a chronicle of identity, protest, memory, power and politics, told through the stories of the men and women who have used the language of sewing and crafts to make their voices heard across the centuries. www.hodder.co.uk
WOVEN ART Elena Vilar (£14.99, Search Press) French blogger Elena Vilar of Deer Jane invites us to try the ancient and meditative craft of weaving. First, follow the illustrated techniques section before delving into one of the 15 modern projects in the book. You’ll discover how to make a cardboard loom, thread a shop-bought loom, dye wool using natural dyes, make homemade jersey yarn and more – and create beautiful new art for your home, too. www.searchpress.com
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BITSAND PIECES From little EPP W
Cool CurVes
The smallest design details can elevate a simple pattern to something special, and Allie Olson’s Coram Top and Dress pattern shows how it's done! Putting an upscale twist on a classic shape, it's the little touches, like the curved hem, sleeve cuffs and raglan sleeves, that make it a satisfying sew for all skill levels. For stockists visit www.hantex.co.uk
3 of the best TOTALLY MINTED Freshen up your home for spring and summer with these on-trend modern mint finds.
1. Obviously, we’d much rather sew than cook – but these utensils, hand-painted with water-resistant, food-safe varnish, might tempt us into the kitchen. £24 for a set of three, www.hollyhorton.etsy.com 2. Get the mint trend all tied up (sorry) with this quirky handmade knot pillow in 100% cotton – it comes in a rainbow of different shades, too. £19, www.wonderlinashop.etsy.com 3. Mint, pastels, geometrics – this contemporary handmade cushion cover, available in a variety of sizes, ticks off three of our fave things in one. From £22, www.cottonandpebble.etsy.com
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hexies to cut-out pattern pieces, small tools to trims, we never quite know how to keep all the little bits and bobs we need for our inprogress projects easily to hand – so these pouches by Sarah Ashford are a real life-changer! Featuring a variety of fun stitchy slogans, from ‘WIP’ to ‘Live. Love. Quilt’, and at a larger-than-A4 size, these handy bags are just the thing for organising a variety of makes and can be customised with your own message. Visit www.sarahashford studio.etsy.com
FITANDFLARE
Like jeans, jumpers and jersey dresses, skirts are something you can never have too many of. Dress them up or down, layer up with a chunky knit and woolly tights, wear with a cami and sandals for summer – there are so many ways to style them! So we’ll be making both options included with True Bias’ highwaisted Salida Skirt pattern: a fitted, panelled skirt with a back vent, and a swirly flared midi skirt. For pattern stockists visit www.hantex.co.uk
Pinboard Video stars
What to do when we're not sewing? Watch sewing videos! Tune into these inspiring clips.
SEWING QUARTER Make a Simplicity pattern with Jenniffer Taylor and more with this show from 28th August. www.youtube.com/sewingquarter
MINI MAKING Give the saying ‘like mother, like daughter’ a whole new meaning with this mini-me version of Chalk & Notch’s women's Fringe dress pattern. Kids will love matching mummy in this cute-and-comfy frock, with options for a button-up fastening or a pull-on style. www.chalkandnotch.com
reEl gooD
The cutting-out process is now a whole lot prettier thanks to Foxglove & Field’s beautiful handmade pattern weights. These vintage-look reels may be small, but, weighing in at 130g, they’ll keep patterns firmly in place for accurate cutting out. Choose from a variety of designs, from polka dots to Liberty prints. www.foxgloveandfield.co.uk
DITSY TULIP In need of sewing room decor ideas? Look no further than this craft room tour by Mel, aka Ditsy Tulip, at www. youtube.com/Handmade ByDitsyTulip
out & about
SKILLS, SHOWS & EVENTS 12 MARCH Introduction to Weaving. Backstitch, Cambridge. Learn all the weaving basics at this beginner’s workshop using a simple tapestry loom. www.backstitch.co.uk
4-6 APRIL The Creative Craft Show. ExCel, London. Get inspired, stock up on supplies and master new skills at this multi-craft show for stitchers, knitters and hobbyists. www.ichfevents.co.uk
12-14 APRIL
SEW OVER IT We all love a good fabric haul video, don’t we? Get fabric envy with Lisa Comfort’s latest finds and find out what she’s been sewing at www.youtube.com/sewoverit THE FOLD LINE For The Fold Line's new Find My Sewing Pattern series, they search their pattern database for high street-inspired styles See www.thefoldline. com/category/vlogs
British Quilt & Stitch Village, Uttoxeter Race Course. Browse exhibits and competition quilts, boost your stash and learn at the workshops. www.quiltandstitchvillage.com
16 APRIL
Our pattern-cutting sessions will be Instagram-worthy with these pretty pattern weights!
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Adapt Sewing Patterns for a Better Fit. Raystitch, London. Achieve the perfect fit with any sewing pattern at this invaluable class and learn everything from moving darts to making a toile. www.raystitch.co.uk
STITCH SISTERS Join sewing-teacher duo the Stitch Sisters for one of their regular Coffee & Catch Up videos. www.youtube.com/stitchsisters
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win: sewing kit worth £120 Win a fabric, thread and pincushion bundle from Gűtermann and Groves.
very sewist knows there’s no such thing as having too much haberdashery, especially when it comes to threads as they’re often the first things you’ll run out of! Fancy adding some new treats to your stash box? We’ve teamed up with Gütermann − one of the most experienced producers of premium sewing threads in the world − and Groves to put together this colourful bundle. Two lucky winners will receive a box of seven metallic threads, a bumper 10-colour rainbow thread box (with bonus tape measure!), a gorgeous fat quarter bundle from the new Ring a Roses: Blooms fabric range at Gütermann, plus a handy pincushion from the Hobby Gift range at Groves. For your chance to win one of these bundles enter our competition at www.simplysewingmag. com. Browse Gütermann haberdashery at www.guetermann.com/en and email groves@stockistenquiries.co.uk for details of your local Groves stockist.
Comple set wo te rth
£120
competitions
Win: JANOME sewing machine worth £639 Enter today for your chance to win a brand new Janome M200 QDC computerised sewing machine.
o support you on your sewing journey, every sewist knows you need a machine that’s going to grow with you − and encourage you to take your hobby to the next level. Whether it’s dressmaking, home sewing, or quilting, the Janome M200 QDC will last you a lifetime. With more functions than a regular machine, the Janome ‘M Series’ have an impressive range of quality tools and accessories − such as this extended table, which you’ll find super-handy for quilting, or sewing with bulky fabric. Supporting you as you learn with 200 built-in stitches (including an alphabet and
buttonholes), and an auto de clutch bobbin winder (easy-peasy!) you’ll be stitching your way to a handmade wardrobe in no time at all. Find out more at www.janome.co.uk, and enter our competition to win this machine at www.simplysewingmag.com
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See www.simplysewingmag.com to enter today! (UK only, see competition rules on p6.) Subscribe at www.simplysewingmag.com
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sewing room makes
sewing bee
Our sewing room is our happy place! Give yours a handmade update with these practical makes. Designers: JESSICA ENTWISTLE Styling: LISA JONES Photography: JESSE WILD
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bee PinCuShiOns When your sewing room is buzzing with activity, keep these helpful bee buddies close at hand for easy pinning. You could, of course, make them in classic yellow and black, but we've gone for floral stripes for a scrap-busting make. Get ready to stitch a few of these – your sewing pals will want one, too!
SloGan BanNer We all know this famous saying, but whether we actually take its advice is another matter! So we'll be hanging this pennant banner, with its message written loud and clear in appliquĂŠ and embroidery. Now, where did we put that tape measure?
sewing room makes
SewIng MacHine CovEr Where would we be without our machine? It's seen us through more projects than we can count, so it's about time we show it some TLC with this cover, which also just so happens to be a nice little skills-booster for us – you'll learn how to add piping, a lining and pockets.
SciSsor Case Now, we don't want to sound too dramatic...but our fabric scissors are not to be messed with! Keep snips of all sizes safe and sound in a cute case, with a layer of wadding to protect those precious shears. Hands off!
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sewing room makes
NeeDlEboOk Whether it's finishing a hem or embroidering a hoop design, hand-stitching is one of our favourite ways to unwind. It's our version of mindfulness! And now we can take our stitching with us wherever we go, just by popping this nifty needlebook in our project bag.
StoRage tub No, we don't need to have a craft room clear-out – we just need more storage! In fact, we can tick off both with this fold-over tub: not only is it just the right size for all our haberdashery bits and bobs, we can use two coordinating prints from our stash to make it, too. That's two pieces of fabric less to find a space for, right?
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sewing room makes 01
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bee pincushion YOU WILL NEED
For each bee: Q Fabric A: 20x20cm (8x8in), for the head, base and bee stripes Q Fabric B: 12x15cm (5x6in), for the bee body Q Felt: 16x12cm (7x5in), for the wings Q Bondaweb: 10x15cm (4x6in) Q Toy stuffing Q Sand Q Erasable fabric marker Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Sonata collection by Amy Sinibaldi for Art Gallery Fabrics. For stockists visit www. hantex.co.uk/agf NOTES Q Use a 5mm (¼in) seam allowance. Q Download the templates from www. simplysewingmag.com/downloads
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CUTTING OUT Step one From Fabric A cut: Head: one using template. Base: one using template. Step two Use the bee body template to draw two mirror pairs of the bee stripes (the 2nd and 4th stripes on the body only) onto the Bondaweb. Press the Bondaweb onto the wrong side (WS) of the rest of the Fabric A then cut out two mirror pairs of both stripes. Step three From Fabric B cut: Body: two using the template.
MAKING THE BEE SECTIONS Step one Transfer the marks onto the WS of all of the cut fabrics using an erasable fabric marker. Step two Press the corresponding Bondawebbed Fabric A stripes onto the right side (RS) of both of the bee body pieces, making sure they fit within the marked lines. Step three Topstitch the stripes onto the each of the bee body sections. 01 Step four Fold the bee head piece in half RS together. Sew from the outer edge to the inner, tapering off the sewing as you finish. Step five The side marks on the bee base are where the bee head and body seams need to line up, so ensure these are aligned. 02 Step six For the felt wings, cut the felt in half to
create two strips 16x6cm (3½x2½in). Fold in half and draw one wing template on top, so that the short straight edge lines up with the fold. Pin and then sew together 2mm (1⁄8in) within the marked line. Trim off the excess felt away from the line. Step seven Repeat to make a mirror image of the wing to make a pair. 03
SEWING THE BEE TOGETHER Step one Take the two bee body sections. Pin them RS together along the top curved edge. Mark a turning gap along the third stripe (between the two Bondawebbed stripes – it will be small but you will be able to turn the bee RS out). Sew, backstitching at the start and finish. 04 Step two Pin the wings onto the sewn bee body, so that the wings are approx 5mm (¼in) out from the central seam and the short curved edges of the wings are facing inwards. Staystitch the wings into place. 05 Step three Pin the bee head to the bee body RS together. Match the bee head marked centre with the central body seam then sew together, pivoting slightly at the central seam. 06 Step four Pin the bee base RS facing the bee head/ body. Make sure the base marks line up with the bee head central seam and the bee body seam, as well as the body/head side seams. Push the seam where the head joins the body up towards to the
sewing room makes 03
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head. This will make the bee smoother when you stuff it later. 07 Step five Sew the base to the bee head/body.
STUFFING THE BEE Step one Turn the bee RS out through the turning gap. Pull out both wings first, then the head and rest of the body. Push out all seams. Step two Push a small piece of wadding into the bee head and base, just to create a cushion effect. Take a piece of scrap paper, roll it into a tube and push it into the turning gap. Fill the bee with sand, as much as you can. 08 Step three Add more stuffing, pushing firmly into the bee. Once you’re happy with the level of stuffing, close the turning gap with a small, neat ladder stitch to finish.
TIPw: ings aren't
felt 's e ndy e a b h e e h 'r T y ! The w o h s too. r , o s p i l c just f c abri f g n i r o for st Subscribe at www.simplysewingmag.com
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sewing room makes sewing machine cover
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YOU WILL NEED
Q Main fabric: 50x115cm (20x45in) Q Lining fabric: 1mx115cm (11⁄8ydx45in) Q Piping fabric: 25x115cm (10x45in) Q Wadding: 1mx90cm (11⁄8ydx36in) Q Piping cord: 4m (4½yd) Q Erasable fabric marker Q Pattern paper Q Zip foot Q Basic sewing kit FABRICS USED The fabrics used are from the Sonata collection by Amy Sinibaldi for Art Gallery Fabrics. www.hantex.co.uk/agf NOTES Q Use a 1cm (3⁄8in) seam allowance.
MEASURING UP Step one Take the following measurements: Height: from the bottom to the top - including the spool holder/bobbin winder. Depth: the bottom with the free arm cover should be the widest point but check by measuring the area across the side over the handwheel – take the larger measurement. Length: from the open side to the handle side across the front of the machine. Over your machine: from the base of the machine at the front, up over the top of the machine, and down to the base of the machine at the back – include any parts that extend from the machine. Step two You can mark the measurements directly onto the fabric using the following formulas, but making paper templates will allow you to check your cover will fit. To do this, mark out the following measurements on paper: End panel: height + 4cm (15⁄8in) x depth + 4cm (15⁄8in). Use an egg cup or mug to curve the top two edges and cut away the excess paper. Body: over machine measurement (which should match the edges of the end panel) x length. Pocket: depth + 4cm (15⁄8in) x desired height (ours is 17cm, 6¾in).
CUTTING OUT Step one From the lining fabric cut: End panel lining: cut two using the end panel template. The end panel includes seam allowance and give, so will be longer and wider than the machine. Amend the size if necessary. Pocket lining: cut two using the pocket template. Body lining: cut one using the body template. Step two From the main fabric cut: Pocket outer: cut two using the pocket template Body outer: cut one using the body template. Step three From the piping fabric cut: Pocket binding: two strips the length of the top
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edge of the pocket template x 4cm (15⁄8in). End panel binding: cut two strips over machine measurement x 4cm (15⁄8in). Base binding: cut two strips 4cm (15⁄8in) x width of fabric (WOF) and join to make one long strip. Step four From the piping cord cut: Binding cord: cut five pieces to match the binding strip lengths. Step five From the wadding cut: End panel wadding: cut two using the template. Pocket wadding: cut two using the template. Main body wadding: cut one using the template.
MAKING THE END PANELS Step one Press/staystitch the end panel wadding to the wrong side (WS) of the lining end panels. Step two Take one of the pocket binding strips and fold it around the matching piping cord with the WS facing the cord. Pin and then tack in place. Step three Pin the piping to the top edge of the pocket outer piece. Staystitch in place. Step four Place a pocket lining piece right sides (RS) together with the piped pocket outer. Sew together using a zip foot to get close to the cord. Step five Fold the pocket lining over the piping and press. Sew the pocket to the lining end panel. Step six Pipe around the circumference of the end panel. Clip the piping raw edges at the curve. Step seven Repeat with the other end panel.
Step eight Mark points approx 20cm (8in) up on each side from the bottom of the end panels and 20cm (8in) up along the bottom long edges of the main body panel on each long side; as well as the centre top point of the end panels, and the centre points of both long sides of the main body. 01
SEWING THE END PANELS Step one Take one end panel, pin it to one long side of the main body panel, matching marked points. Sew together using a zip foot. 02 Step two Repeat for the second end panel. Step three Measure around the base of the cover. Cut the binding strip and cord to this length plus 20cm (8in). Add the piping to the base of the cover as before but this time leave the last 15cm (6in) of fabric open at each end. Step four Splice the cord by removing half the strands at each end and wind for a neat join. 03 Step five Trim and sew the binding ends together. Sew the last part of the piping to the cover front.
ADDING THE LINING Step one Make the lining as for the cover (without pockets). Leave a gap along one end panel edge. Step two Place the cover inside the lining with RS facing. Pin or clip together. 04 Step three Sew together using a zip foot. Step four Turn RS out, then close the turning gap.
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Needlebook YOU WILL NEED
Q Fabric A: 13x18cm (5¼x71⁄8in) Q Fabric B: 13x18cm (5¼x71⁄8in) Q Wadding: 13x18cm (5¼x71⁄8in) Q Felt: 8x12cm (31⁄8x4¾in) Q Button Q Snap fastener Q Stranded cotton, to match the felt Q Erasable fabric marker Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Sonata collection by Amy Sinibaldi for Art Gallery Fabrics. For stockists visit www. hantex.co.uk/agf NOTES Q Use a 1cm (3⁄8in) seam allowance. Q If you wish to fussy cut your fabric as we have done here, you may need more fabric.
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MAKING THE NEEDLEBOOK Step one Our needlebook has one felt inner, but if you wish you could cut out more. If you want the needlebook to take larger needles adjust the size accordingly – just ensure the felt is 5-6cm (2-2½in) smaller than the needlebook. 01 Step two If the wadding is fusible, fuse it to the wrong side (WS) of Fabric A. If not, place the Fabric A piece right side (RS) up on top of the wadding and pin the Fabric B lining RS together on top. Sew all the way around, leaving a turning gap along the bottom back edge of the book. 02 Step three Clip the corners and turn RS out through the turning gap, pushing out the seams, and press. Neatly close the turning gap with a small ladder or whip stitch. Step four Pink the edges of the felt with pinking shears. Place the felt piece centrally on top of the lining and sew along the centre to attach.
ADDING THE CLOSURE Step one Open the snap fastener and sew it onto the inside of the needlebook on the lining – make sure you only sew through the lining/wadding and not the needlebook outer. 03 Step two To finish, sew the button onto the outside of the needlebook, on the other side to the snap fastener, but only sew through the outer/ wadding and not the lining fabric. 04
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sewing room makes 01
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Scissor Cover YOU WILL NEED
Q Main fabric: 30x30cm (12x12in) Q Lining fabric: 30x30cm (12x12in) Q Iron-on wadding: 30x30cm (12x12in) Q Erasable fabric marker Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Sonata collection by Amy Sinibaldi for Art Gallery Fabrics. For stockists visit www. hantex.co.uk/agf NOTES Q Use a 1cm (3⁄8in) seam allowance. Q Download the templates from www. simplysewingmag.com/downloads Q Templates include a seam allowance. Q If you wish to fussy cut the fabric you may need more than is stated.
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CUTTING OUT
ASSEMBLING THE COVER
Step one Download and cut out the templates. Step two Use the templates to cut out the following pieces. From the main fabric cut: Cover front: one using the template. Cover back: one using the template. Step three From the lining fabric cut: Cover front lining: one using the template. Cover back lining: one using the template. Step four From the wadding cut: Cover front wadding: one using the template. Cover back wadding: one using the template.
Step one Turn the front and back pieces RS out, pushing the curved edges out carefully. Press. Step two Pin/clip the cover front to the cover back RS facing. Sew from the 1cm (3⁄8in) to the second 1cm (3⁄8in) point. 03 Step three Clip away excess fabric/wadding from outside the seam then turn RS out. Push all seams out and press. Step four Starting 2mm (1⁄8in) above where the seams meet and the original 1cm (3⁄8in) marks, topstitch 5mm (¼in) from the edge to finish. 04
MAKING UP THE SECTIONS Step one Fuse the wadding to the wrong side (WS) of the main fabric front and back pieces. Step two Transfer the template marks to the WS of all pieces. 01 Step three Place the main fabric cover front right side (RS) facing with the corresponding lining, making sure the marks match. Pin together then sew along the curved top only. Starting at the outer left edge, sew along the 1cm (3⁄8in) left mark then with a 1cm (3⁄8in) seam allowance along the top, and then down to the other 1cm (3⁄8in) mark on the right-hand side and out to the edge. Step four Trim excess fabric/wadding outside the seam, leaving 2mm (1⁄8in), then clip the corners. Step five Repeat to make the cover back. 02
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Banner
YOU WILL NEED
Q Fabric A: 37x46cm (15x9in), for the front and back Q Fabric B: 20x21cm (8x9in), for the appliqué Q Wadding: 23x37cm (10x15in) Q Dowel pole: 12mm wide x 34cm Q White paint, for the dowel Q Bondaweb: 20x21cm (8x9in) Q Paper, for the template Q Stranded cotton in dark blue Q Pink yarn: 1m (11⁄8yd), to hang the banner Q Erasable fabric marker Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Sonata collection by Amy Sinibaldi for Art Gallery Fabrics. For stockists visit www. hantex.co.uk/agf NOTES Q Use a 1cm (3⁄8in) seam allowance. Q Download the templates from www. simplysewingmag.com/downloads
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CUTTING OUT Step one Download and cut out the templates. Step two From Fabric A cut out: Front and back: two 37x23cm (145⁄8x91⁄8in). We decided to create a point at the bottom of our banner, so drew a triangle point at the bottom of each Fabric A piece, starting 11cm (43⁄8in) up from the bottom edge. Step three From the wadding cut: Wadding: one 37x23cm (145⁄8x91⁄8in). Cut a point in the wadding as for the front and back if desired. Step four Create a mirror image of the shapes template on paper. Place the Bondaweb onto the mirror image and draw around the design. Step five Iron the Bondaweb onto the wrong side (WS) of the Fabric B and cut out the shapes.
on top of the wadding, then the back piece RS down to create a sandwich. Sew together, leaving a turning gap along the top edge. 03 Step two Clip corners and turn RS out. Close the turning gap with hand stitches or by machine. Step three Paint the dowel, and once dry fold the banner top edge over the dowel to check where it fits. Pin the fabric to hold and remove the dowel. Step four Sew along the pinned edge. Step five Insert the dowel then tie the yarn to the ends to hang, tucking the yarn inside the fabric casing to hide the raw ends. 04
ADDING THE APPLIQUÉ Step one Transfer the template outline onto the front fabric piece using an erasable pen. Peel off the backing paper from the Bondawebbed fabric and press the words and scissors into place. 01 Step two Topstitch the appliqué onto the fabric. Step three Thread a needle with all six strands of stranded cotton and embroider the cutting lines onto the banner as shown. 02
ASSEMBLING THE BANNER Step one Place the banner front right side (RS) up
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sewing room makes 01
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Storage tub YOU WILL NEED
Q Fabric A: 48x41cm (19x17in), for the outer Q Fabric B: 48x41cm (19x17in), for the lining Q Wadding: 48x41cm (19x17in) Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Sonata collection by Amy Sinibaldi for Art Gallery Fabrics. For stockists visit www. hantex.co.uk/agf NOTE Q Use a 1cm (3⁄8in) seam allowance.
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CUTTING OUT
ASSEMBLING THE TUB
Step one From Fabric A cut out: two pieces measuring 24x41cm (9½x161⁄8in) each. Step two From Fabric B cut out: two pieces measuring 24x41cm (9½x161⁄8in) each. Step three From the wadding cut out: two pieces measuring 24x41cm (9½x161⁄8in) each
Step one Place the tub outer inside the lining with RS facing. Pin/clip together then sew. 04 Step two Turn RS out through the turning gap. Push the lining back inside and press. Step three Close the turning gap by hand. Step four Topstitch along the top edge of the tub.
MAKING THE TUB SECTIONS Step one Take the Fabric A pieces and cut away a 7cm (2¾in) box at each end of the 41cm (161⁄8in) bottom length. Repeat for the Fabric B and wadding pieces. The bottom edge should now be 27cm (105⁄8in) long. Step two Fuse or staystitch the wadding pieces to the wrong side (WS) of the Fabric A pieces. Step three Sew the Fabric A/wadding pieces along the bottom edge. Press the seam open. 01 Step four Fold the sewn Fabric A pieces right sides (RS) together, then sew along both side seams. Step five Repeat this to assemble the Fabric B lining pieces, but this time leaving a turning gap on the bottom edge. 02 Step six Take the Fabric A outer. To create boxed corners on the bottom of the storage tub, first press the two corners together so that the tub bottom seam and side seams align. Pin or clip in place, then sew together. 03 Step seven Repeat for the lining piece.
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THE amélie dress Get your spring sewing off ff to a chic start with The Amélie Dress' elegant square neckline and pretty fluted sleeve option.
TH am i dr ss Sure, we might love sewing with cosy jerseys and snuggly knits – but we are so ready for summer frock season! We can't wait to stock up on drapey viscoses and breezy cottons ready to start on our spring/summer me-made wardrobe. And where better to begin than The Amélie Dress? With her chic square neckline, vintage-inspired fit-and-flare silhouette and optional fluted sleeve, there's no sunny occasion we wouldn't wear this versatile dress to. Weekend barbecue? You'll find us there in an Amélie made in a ditsy floral cotton. Special occasion? You bet we'll be bringing out the luxurious crepes for a show-stopping style.
EASY WEAR The shoulders are fitted with elastic for comfort.
YOU WILL NEED Q Main fabric: Dress A: 3mx115cm (3¼ydsx45in) Dress B: 3.5mx115cm (4ydsx45in) Q Invisible zip: 56cm (22in) Q Elastic: 10mm wide x 60cm (3⁄8inx24in) Q Matching thread Q Basic sewing kit
TWO OPTIONS Change the look with a plain or fluted sleeve.
FABRIC SUGGESTIONS Light to medium-weight woven fabrics such as cotton, cotton lawn, crepe and rayon.
NOTES Q Use a 1.5cm (5⁄8in) seam allowance.
GETTING STARTED First, pre-wash and dry your chosen fabric to allow for any shrinkage. Unfold the pattern and find the line style for your size using the key provided. Follow these lines to cut your pattern pieces out – it can be helpful to mark the lines using a highlighter. Read all of the instructions before you start to ensure you do each step in the correct order, press your fabric for accurate cutting out – and you’re ready to get started!
Make wi th sleeve or a plain pretty f add the luted de tail. CHIC SHAPE Has a vintageinspired fit-andflare silhouette.
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TH am i dr ss wear it with
Got a spring wedding in the calendar? Swish your way to the church in this beautiful crepe, www.sewingquarter.com
Floral Viscose Challis www.minervacrafts.com
ChalkY hueS Get ready for Spring with subtle pastels and pearls.
Freshen up your makeup bag with barely-there lipstick and a minty nail shade, both www. marksandspencer.com Teal Stretch Crepe, www.minervacrafts.com
How to accessorise a floral print? With more flowers, of course! Earrings £10, uk.accessorize.com Blossom Seduction, www.sewingquarter.com
FABRIC INSPIRATION
fancy florals
Well, hello spring! We're all set for your arrival thanks to these blooming beauties, from delicate buds to bold blossoms.
Floral Print Crepe, www.minervacrafts.com
For an easy day-tonight look, statement tassels will do the trick, uk.accessorize.com
Wrist candy doesn't come sweeter than these delicate coral beads, £14, www.oliverbonas.com
Finish a wedding up-do with a pearl-detail flower clip, £22, www. next.co.uk/lipsy This ombre cross-body will have everyone green with envy, £39.50, www. oliverbonas.com
Soft Touch Crepe, www.minervacrafts.com
Navy Demure Lena Crepe, www.sewingquarter.com
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Get started on your holiday wardrobe with this summery coral viscose, www.sewingquarter.com
Go for a 1950s vibe in retro pastel blue courts, £19.50, www. marksandspencer.com
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shine a light
A daylight lamp will support your stitching skills – find the right one for your sewing space
SLIMLINE 3 FLOOR LAMP
The Slimline 3 Floor Lamp is ideal – the third generation of this design spreads an even brighter light over a large area, with better diffusion allowing you to see intricate stitching in more detail. It now offers four brightness levels, and its flexible joints mean that you can place it anywhere around your desk and still angle the light towards your project. As it also uses LEDs that won’t get hot, you can sew under it for as long as you need. Slimline 3 Floor Lamp, £180
Lighten up your whole workspace with a floor lamp
ADVERTISMENT FEATURE
Adjust the brightness for your paper or fabric thickness
SEWING MACHINE LAMP
This easy-to-attach sewing machine lamp may be small, but it’s certainly mighty. Pop it onto your machine to illuminate your seams. Sewing Machine Lamp, £33
HALO TABLE MAGNIFIER
Sometimes our sewing needs a little more attention, and that’s where the Halo Table Magnifier comes in. Focus on even the
This lamp attaches with a simple self-adhesive mount
Foldable design means you can sew on the go
smallest of stitches with a 5 diopter (2.25x) magnification lens and a 12 diopter (4x) magnification inset lens, as well as three brightness levels of daylight LEDs. Its foldable design is also perfect for taking your sewing on-the-go. Halo Table Magnifier, £58
WAFER LIGHTBOX
If you love to add a cute embroidered flourish to your finished pieces, the Wafer Lightbox is for you. It’s ultra light and bright and has a handy ruler along two edges, helping you to trace designs accurately onto your fabric before you sew. It comes in three different sizes, (A4, A3 and A2) to suit your sewing project, with cutting mats of the same sizes also available to enable cutting directly on the lightbox. A continuous dimmer means that the light can be adjusted for use with both paper and fabric, while smart technology remembers your last setting in-between uses. Wafer Lightbox 1,2 and 3. Starting at £99 (RRP)
Find all of these lights, as well at your nearest stockist, at The Daylight Company (www.daylightcompany.co.uk)
best dressed
Portia Lawrie's oh-so-cool cocoon design is deceptively simple to sew, easy to style and perfect for layering. It's our perfect dress!
no PatTern NeeDeD!
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YOU WILL NEED
Q Lightweight woven fabric: 2mx115cm (2¼ydx45in) Q Double-fold bias binding: 50cm (20in), for the back neckline Q Matching thread Q Basic sewing kit
Designer Portia says: "This is a great transitional piece – it can be layered up with tights and boots for when it’s still a little chilly, and worn with bare legs and sandals come the summer. Made from rectangles, the finished look of this dress belies the simplicity with which it is made."
CUTTING OUT NOTES Q Use a 1.5cm (5⁄8in) seam allowance unless otherwise stated. FABRIC USED Q Fabric is viscose challis in Moonstone Green by Atelier Brunette, from Minerva Crafts. Go to www.minervacrafts.com
Step one From the main fabric cut: Body: cut four rectangles that are 1m (11⁄8yd) in length and one quarter of your bust measurement plus 6cm (23⁄8in) across. If your hip measurement is larger than your bust measurement use this instead for the calculation. Neckband: The neckband is cut longer than you need initially and then trimmed down. Cut a 16cm (63⁄8in) wide strip with the length cut across the full width of the fabric. Cuffs: cut two rectangles 16x60cm (63⁄8x235⁄8in) across the width of the fabric.
MAKING THE BODICE Step one Join two of the body rectangles together along the 1m (11⁄8yd) edge, press the seam and finish the seam allowances. Repeat with the two remaining rectangles. You will now have two large rectangles, the front and back pieces, each with a seam down the centre. Step two Finish both of the outer raw edges, on both the front and back pieces. You can overlock, machine zigzag or turn and stitch a narrow hem as
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we have done. Set the back piece aside for now. Step three Mark the desired width of your neckline across the top edge of the front piece, using the centre front (CF) seam to make sure it is centred. Our neckline is approx 18cm (7in) wide, so we have made a mark 9cm (35⁄8in) either side of the CF. Also mark on the CF seam how deep you would like the point of your V-neck opening to be. Ours is approx 20cm (8in) down from the top edge. 01
PREPARING THE NECKBAND Step one Press the neckband piece in half lengthwise with wrong sides (WS) facing. Step two Fold the neckline band back on itself to form a V shape as pictured. You want the inside edge of this V to line up with the V neckline points you just marked, with the point of the V centred on the CF and the straight/folded bottom edge of the band perpendicular to the CF. 02 Step three Once you are happy with the position of the neckband pin it in its folded position and take it to your ironing board. You will notice that one inside edge of the neckband has a crisp folded edge and the other has a raw edge. Press the fold at the base of the V so it’s nice and crisp, then cut the neckband into two equal pieces along the pressed fold. 03 Step four Flip the raw-edged side over so the folded edge of the band is now on the inside. Align the bottom edges of the strips as shown and cut away the excess. 04
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Step five Sew a line of tacking stitches 5mm (¼in) away from the raw edge along the sides and the base of the neckband piece as pictured – this will close the open edges and join the two pieces together at the base. The neckband is now one piece again with the raw edges on the outside and the folded edges forming the inner neckline. 05 Step six Pin the neckband back in position again onto the front piece. Carefully trace around the outer edge of your neckband, marking its exact position onto the front piece. Cut away any excess neckband strip along the top edge. Step seven Remove the pins and set the neckband to one side. Step eight On the front section, where you marked the position of the outer edge of your neckband, draw a line 1cm (3⁄8in) within your chalkline and sew a line of tacking along that line. Draw another line 1cm (3⁄8in) within your stitched line and then cut along that line, creating your neckline opening. 06 Step nine Snip the interior corners of the neckline opening, up to, but not through, the tacking line as pictured.
ATTACHING THE NECKBAND Step one Lay the neckband face up, with the Vshape upside down, on your work surface. With right sides (RS) together, pin the short edge/base of your neckline opening (front piece) to the short edge/base of your neckband piece. Make sure
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they are centred on each other. Then move the left side of your neckline opening until it is aligned with the long edge of your neckband piece underneath and pin in place. 07 Step two Repeat this for the RS of the neckline opening until it is aligned with the long edge of the neckband piece underneath and pin in place. You will notice that the two slits you cut in the interior corners of your neckline opening have now opened up to allow this. Step three Starting at one end of the neckline opening, sew 1mm to the left of the line of tacking stitches. When you reach the corners, move the needle into the down position, raise the presser foot, turn your work, put the presser foot down again and continue sewing. The outer edges of the neckband/placket are sewn to the neckline opening in one pass. Pivot at the corners. 08 Step four Press the entire garment. Press the seam allowance outwards and topstitch in place from the RS close to the seamline to hold the seam allowance in place. Step five With RS together, lay the front section onto the back section. Measure down 3-4cm (1¼-15⁄8in) from the outer edges of the garment and make a mark – this is for the shoulder slope. Cut from this point in a straight line up to the neckband inner edges. Step six Mark and cut a slight curve into the back neckline as pictured. Step seven Finish the back neckline with the
double-fold bias tape as a facing. 09 Step eight Pin the front and back pieces RS together at the shoulders. Sew the shoulder seams, finish the seam allowance then press the seam allowance towards the back. Topstitch in place from the RS, close to the seamline.
SEWING THE CUFFS AND HEM Step one Press the cuff pieces in half lengthwise. Step two With the RS facing and raw edges aligned, centre the cuff pieces over the shoulder seams and stitch into place with a 5mm (¼in) seam allowance. Step three Press the cuffs away from the shoulder seams and press the seam allowance to inside of the cuff. Finish the seam allowance. Repeat to attach the other cuff. 10 Step four With the garment inside out, pin along the side seams and the cuffs. Tack the side seams together and try on to check the fit. Adjust the armhole if necessary. 11 Step five Starting at the cuffs, sew the ‘sleeves’ and side seams together in one continuous line with a 1cm (3⁄8in) seam allowance, curving the stitching at the underarm. 12 Step six Repeat for both sides. Trim away any excess cuff at the curve so there is an even 1cm (3⁄8in) seam allowance along the whole stitch line. Press and finish the seam allowance. Step seven Turn under, press and stitch a double hem to finish.
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Our pattern shop has had a makeover!
Now you can get instant access to your favourite patterns from the Simply Sewing collection, alongside our latest releases. Each design comes with a graded PDF pattern in UK sizes 6-20 (US 4-18, EUR 34-38), step-by-step instructions, colour photos and size chart.
the AdeLe DreSs SIZES 6-20 US 4 18 EUR 34 48
the bea BloUse
SIZES 6-20 US 4 18 EUR 34 48
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SIZES 6-20 US 4 18 EUR 34 48
the AisLing DreSs SIZES 6-20 US 4 18 EUR 34 48
the Eden set
SIZES 6-20 US 4 18 EUR 34 48
the mia set
SIZES 6-20 US 4 18 EUR 34 48
Find the launch collection online now at www.simplysewingmag.com/pattern/
KNOW YOUR TOOLS
MACHINE NEEDLES
Fitting your machine with the right needle is a must for smooth stitching, so follow our guide to selecting the best needle type for the task.
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hose new to machine sewing may have only used the universal needle, but it isn’t always the right one for every project. Sewing with the appropriate needle for the fabric, thread and stitch type can help prevent stitching problems and broken needles.
SIZING IT UP Needles are labelled with two numbers – the larger number is the European metric size, and the smaller number is the American size. The lower the number, the finer the needle. The table on the right gives you a rough guide to sizes. NEEDLE TYPES Needles differ by the shape of the point, eye and shaft thickness. Here, we take you through 12 of the common needle types you’ll need for a variety of projects.
THE ANATOMY OF A NEEDLE Shank This is locked into place with the needle clamp screw. It is flat on the back and rounded on the front.
Groove The slit on the front of the needle above the eye that protects the thread as the needle stitches.
Point The tip that pierces the fabric. The length and sharpness varies depending on the needle type.
EUROPEAN SIZE
AMERICAN SIZE
FABRIC
Shaft The part of the needle below the shank. The diameter of the shaft determines the needle size.
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Silks
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Lightweight fabrics
Scarf The small indentation on the back of the needle. A long scarf helps to avoid any skipped stitches.
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Medium weight fabrics
80
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Medium weight fabrics
90
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Medium weight fabrics
100
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Heavy weight fabrics
110
18
Upholstery fabrics/denim
120
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Heavy canvas
Eye The hole that the thread goes through from front to back. The shape changes depending on the type of needle.
UNIVERSAL
BALLPOINT
SHARPS
This needle has a slightly rounded point for stitching knits, but can also be used for woven fabrics. The finer points are ideal for lightweight fabrics, but choose a larger point for heavier weights. You can use polyester, cotton or silk threads. Keep a stock of sizes to hand.
This one has a more rounded point than the universal needle, so is only to be used for knit fabrics. The needle slides between the fabric threads rather than piercing them, so you won’t get snags, ladders or holes. Good for jersey fabric and fleece, as well as heavy knits.
The sharp point and narrow strengthened shaft will pierce several layers of fabric. Ideal for straight stitching, particularly topstitching, on very fine and delicate fabrics. The sharp point makes it perfect for stitching neat buttonholes where the stitches are worked close together.
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KNOW YOUR TOOLS
EMBROIDERY
METALLIC
QUILTING
This needle has a large eye and a scarf designed to protect the thread whilst stitching dense patterns at high speed. This helps to stop the thread breaking during stitching. This type be used for machine embroidery on any fabric, and is ideal to use with rayon threads.
This has a larger eye than the machine embroidery needle, so is designed to be used with heavier threads. It has a large groove and a special scarf that protects the thread to stop it shedding and breaking. It’s used for stitching with metallic thread on any fabric.
This has a sharp and tapered point with a longer shaft, so it can pierce multiple layers whilst keeping straight stitches. It is designed for stitching though several layers of fabric and seams without the needle deflecting so is ideal for patchwork and machine quilting.
JEANS
LEATHER
STRETCH
This has a strong shank, so it won’t break easily, and a very sharp point. It’s perfect for stitching several layers of fabric as well as densely woven fabrics like denim, canvas, workwear and heavy twill or linen. Use synthetic or cotton threads or a heavier topstitching thread.
With a wedge-shaped cutting point, this needle is used to work strong seams on non-woven fabrics such as leather, suede and vinyl. It is not to be used with woven or knit fabrics such as synthetic suedes and PU imitation leathers as it may tear the fabric and not seam properly.
Stretch needles have a deep scarf, which allows the bobbin thread to get close to the eye and therefore prevents skipped stitches on fine knit fabrics. It’s designed for two-way stretch knits such as silk jersey and spandex, and is also ideal for synthetic suede and sewing elastic.
TOPSTITCH
HEMSTITCH
TWIN AND TRIPLE
This has an extra-sharp point and an extra-large eye and groove so thicker topstitching thread can be used. This needle is perfect for working straight stitching with thicker threads on any fabric and the stitches will be even and regular. Use a contrasting or matching thread colour.
The wing blade on the side of this needle cuts a narrow hole in your fabric. It’s perfect for stitching hems and other decorative stitches on closely woven fabrics, such as pure linen. Often used for heirloom stitching on tablecloths and napkins or for sheets and pillowcases.
These have two or three needles, which extend from a single shank. Twin needles are available in a variety of different needle types, but the triple only as a universal. The size of the needle is measured from tip to tip. They are used for sewing parallel rows such as pintucks and hems.
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Fabulous Modern Quilting Fabrics Why Not Take a Peek?
Studio E: So Much Fun, Hugs & Kisses, Riley Blake Designs: Lovebug
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WHILE STOCKS LAST
THE sarah shirt
Sew a staple blouse with a twist with By Hand London's Sarah Shirt – it's got two cute collar styles and sleeve lengths to try.
TH sarah shirt The joy of sewing is all in the details, whether it's super-neat topstitching, a perfectly pressed seam or a professional-looking hem – and this issue's Sarah Shirt from By Hand London is all about the details! The classic work shirt has been given an upgrade with two collar styles and sleeve options to choose from – a rounded Peter pan collar and pointed collar, and long, wide sleeves or short cuffed ones – for a satisfying sew. Its back pleat and swing fit means it'll be a dream to wear, too.
TWO STYLES Includes options for a Peter pan or pointed collar, and two sleeves.
YOU WILL NEED
Q Main fabric (for all sizes): Shirt A: 3.1mx115cm (3½ydsx45in) Shirt B: 3mx115cm (3¼ydsx45in) Q Lightweight iron-on interfacing: 1mx90cm (11⁄8ydsx35in) Q 10-15 buttons or snaps, 1-2cm (3⁄8-3⁄4in) in diameter Q 2 pairs of poppers, for the cuffs (Shirt A only) Q Matching thread Q Basic sewing kit
FABRIC SUGGESTIONS Lightweight woven fabrics such as viscose, rayon, silk crepe de chine, cotton voile, cotton lawn or challis.
LOOSE FIT A swing shirt style with a back pleat for easy fitting and wearing.
NOTES
Q Use a 1.5cm (5⁄8in) seam allowance.
GETTING STARTED First, pre-wash and dry your chosen fabric to allow for any shrinkage. Unfold the pattern and find the line style for your size using the key provided. Follow these lines to cut your pattern pieces out – it can be helpful to mark the lines for your size using a highlighter. Read all of the instructions before you start to ensure you do each step in the correct order, press your fabric for accurate cutting out – and you’re ready to get started on your shirt!
Make wi gathere th long ds short cu leeves or ffed slee ves.
SKILLS BOOST Learn how to add a collar, buttons and buttonholes.
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TH sarah shirt wear it with
This print reminds us of vintage teacups, so will make the perfect blouse to wear to afternoon tea! www.sewingquarter.com
Riley Blake Navy Jubilee, www.sewingquarter.com
PaintBox poP
The only rule for wearing colour? More is always more. These disc earrings tick the texture and colour trend boxes, £8, uk.accessorize.com
Soma in Aqua, www.sewingquarter.com Keep hair (stylishly) out of the way while you stitch with cute clips, £6, uk.accessorize.com
Busy Blossom Boho Black, www.lisacomfort.shop
FABRIC INSPIRATION
get shirty
Shirts don't have to be plain or pinstriped! Make a colourful version of this workwear staple with these bold-and-bright prints.
Bring a little sunshine to your outfit with a splash of yellow, £18, www. oliverbonas.com Mix and match bright beads for an eclectic boho vibe, £10 each, www. lauraashley.com
Classic indigo denims will let your shirt do the talking, £19.50, www. marksandspencer.com
Swap your neutral everyday handbag for a bold-and-bright one, £25, uk.accessorize.com
Scattered Confetti , www.sewingquarter.com
Red patent adds detail to all-white trainers, £29.50, www.marksandspencer.com Riverside Wilderness, www.guthrie-ghani.co.uk
Busy Blossom Navy, www.lisacomfort.shop
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With spring in the air (and the Sewing Bee back on TV!) there's no better time to use this pretty bee design, www.sewingquarter.com
Classic suede boots will go with even the most colourful of outfits, £49.50, www. marksandspencer.com
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MY SEWING WORLD
By Rachel Pinheiro
Blogger Rachel of House of Pinheiro shares her tips for taking a more mindful approach to making.
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See more of m ofpinheiro.co y makes at www.house m and @hou seofpinheiro
ince starting my sewing journey, I have always thought of each and every handmade garment I create as an opportunity to write a self-care love letter. Taking the time to enjoy the process, and not just the finished result. Learning to appreciate both successes and failures with equal measure. When you have the opportunity to celebrate your individuality and creativity, and to love your shape instead of worrying about size, your clothes can be a very empowering message. Sewing can be social and our love for sewing can unite us in fully supporting and actively encouraging each other – and I would love to inspire you to focus some of this same love towards yourself and your own making. Be perfectly imperfect. I love this expression because it can be applied to so many aspects of a seamstress' life. To accept that not every project will come out exactly as you imagined. To get inspired by others but not feel their standard has to be yours. And to not care less if your favourite colour combination isn’t straight out th Pantone Colour of the Year! The most beautiful thing about sewing is that you can make your own rules.
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Respect your body. Get comfortable with yourself. Fitting can be a challenging enough without added pressure. So be kind and objective when measuring and evaluating a garment. Avoid negative general thoughts towards
t and u o r a le c h s ta s d Have a goo gems! n e tt o g r fo w fe a d you may fin 50 WWW.SIMPLYSEWINGMAG.COM
"How powerful it is to know you can make clothes PD=P P >A=QPEBQHHU ² Get to know your look and sew for it! It's so freeing to make clothes that fit you perfectly and are unique to your style.
yourself. A pattern is only a 2D starting point. How powerful it is to know you can make clothes that fit beautifully and are comfortable to wear.  Let go of what’s holding you back. Sewing can be very stimulating for the senses, with monthly challenges, new patterns launches, and so on. But having too many ideas can actually feel paralysing. Start by having a good clear out of the sewing space, fabric and pattern stash. Remove all the things that don’t represent 'you' anymore, as those items can be holding your creativity back. Own your personal style. You may feel you don’t have a clear style but you have your own vision of the world. List everything that inspires you and why. Knowing the reason is important. Its good to move out of your comfort zone or own up to a tried-and-tested formula. What is important is that you have a connection to what you are making it. Be your own inspiration and truly embrace your originality. Treat your senses. Use fabrics that are enjoyable next to your skin, and that are pleasurable to feel under your fingers while you cut and sew. Create a positive atmosphere around you. How about adding scented water to your iron for pressing? Treasure the simple, little things, like using very sharp scissors and how materials transform in your hands. You don’t need to have an Instagramable sewing room to make the act of sewing mindful and enjoyable.
Keeping me inspired... Let everyone else know that a garment was made with love (or maybe even swearing!) with woven labels sewn at the back. You can custommake your own. If you don’t want to use a fabric printing company, why not block-print or embroider some? Or order some of the phrases already available.
Choose fabrics that will be a jo y to sew with – and to wear.
Give your finished projects a personal touch with your KSJ LNEJPA@ H=>AHO
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£9.99!
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Start patchworking and quilting today with more than 49 step-by-step tutorials and projects!
ORDER YOUR COPY TODAY! ORDER ONLINE www.buysubscriptions.com/beginnersquilting OR CALL 03330 162 138 and quote ‘Beginners Guide to Quilting Print 1’ 7- ECNNU YKNN EQUV VJG UCOG CU QVJGT UVCPFCTF ƂZGF NKPG PWODGTU UVCTVKPI QT CPF CTG KPENWFGF CU RCTV QH CP[ KPENWUKXG QT HTGG OKPWVGU CNNQYCPEGU KH QHHGTGF D[ [QWT RJQPG VCTKHH 1WVUKFG QH HTGG ECNN RCEMCIGU ECNN EJCTIGU HTQO OQDKNG RJQPGU YKNN EQUV DGVYGGP R CPF R RGT OKPWVG .KPGU CTG QRGP /QP s (TK CO RO CPF 5CVWTFC[ CO RO HQT QTFGTU QPN[ 1XGTUGCU RNGCUG ECNN 2TKEG CRRNKGU VQ 7- QTFGTU QPN[ '74 RTKEG 419 RTKEG #NN RTKEGU KPENWFG 2 2 2NGCUG CNNQY WR VQ FC[U HQT FGNKXGT[
UpcYcle QUICK PROJECT
modern mini Show off your hemming skills with an on-trend retro-inspired scallop detail. Debbie Maxwell shows you how.
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YOU WILL NEED
Q Skirt in your size Q Erasable fabric marker Q Matching thread Q Basic sewing kit
MARKING THE SCALLOPS Step one Measure the width of your skirt hem. Think about how many scallops you would like and divide the hem width by this number – this will give you the width of your scallops. For example, our skirt measured 56cm (22in) across and we wanted six scallops. 56 divided by 6 = 9.3cm. So the scallops on our skirt will each be 9.3cm in width. 01 Step two Calculate the length you would like your skirt to be, fold the hem up to this length and mark a line up from the fold (this will be the finished length plus scallops). 02 Step three Mark out your scallops using a template that is the diameter you worked out previously or something of the correct size.
SEWING THE SCALLOPS Step one Sew the scallops, following the marked lines. 03 Step two Trim the excess fabric, notch around the curves and snip between the scallops to allow for easy turning. 04 Step three Turn the scallops right side (RS) out and press. 05
HEMMING THE SKIRT Step one Sew a blind hem stitch by hand to secure the hem invisibly. 06 Step two If your skirt is lined you will also need to shorten and hem the lining.
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Debbie is a mummy, small business owner and fabric hoarder. When she isn't crafting she loves walking in the countryside. Follow her @duckandduffel
gold standard
Upgrade your everyday handbag with this roomy bucket style made in plush velour and luxe gold faux leather by Estelle Zanatta and Marion Grandamme.
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YOU WILL NEED
Q Fabric A: Velour, 1mx115cm (39½x45in), for the main bag Q Fabric B: Faux leather, 50x115cm (19¾x45in), for the bag base Q Fabric C: Lining fabric, 1mx115cm (39½x45in) Q Medium-weight iron-on interfacing: 50x90cm (19¾x35in) Q Rigid iron-on interfacing: 50x115cm (19¾x45in) Q Zip: 15cm (6in) Q 4 x large gold eyelets Q 2 x gold magnetic snap fasteners Q 2 x 2.5cm (1in) wide gold snap hooks Q Matching thread Q Basic sewing kit
NOTES Q Download the templates from www. simplysewingmag.com/downloads Q Use a 1cm (3⁄8in) seam allowance unless otherwise stated.
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CUTTING OUT Step one From Fabric A cut: Upper outer panel: two 44x45cm (173⁄8x17¾in). Handle top: 60x5cm (235⁄8x2in). Step two From Fabric B cut: Lower outer panel: two 44x14cm (173⁄8x5½in). Base outer: one using template A. Handle underside: 50x3cm (19¾x1¼in). Step three From Fabric C cut: Upper panel lining: two 44x45cm (173⁄8x17¾in). Lower panel lining: two 44x14cm (173⁄8x5½in). Base lining: one using template A. Upper zip pocket: two 18x6cm (71⁄8x23⁄8in). Lower zip pocket: two using template B. Pocket back: one using template C.
PREPARING THE BODY OF THE BAG Step one Press the medium interfacing onto the upper outer panel and the base outer. Step two Pin/clip and then sew the upper outer panel pieces together right sides (RS) together along both 45cm (17¾in) edges. If you are using a directional fabric, ensure that both pieces are facing the same way. Step three Pin/clip then sew the lower outer panels together along the shorter edges. Step four Sew the upper and lower parts of the outer bag together, ensuring that they are facing the same way as before.
Step five To secure the seam allowance, fold it towards to lower panel and stitch in place. It is important that this stitching is neat as it will be visible from the outside of the bag. Use matching or contrasting thread as desired. Step six To attach the base, pin or clip in place with RS together around the open edge of the lower panel, ensuring the fabric is distributed evenly for a neat, pucker-free finish. Step seven Sew the base to the lower panel, then from the wrong side (WS) clip into the seam allowance to release any taut fabric around the curve. Be sure to clip up to the stitch line and not through the stitches. Step eight Fold 6.5cm (25⁄8in) at the top of the upper outer panel over to the WS – this will be the facing. Press along the fold.
MAKING THE POCKET Step one Bar tack the top of the zip to keep the edges together by hand or using a wide machine zigzag stitch. Step two Lay the zip face down RS together on the upper zip pocket. Step three Lay the other half of the zip RS together on the lower zip pocket. 01 Step four If desired, you can fold over the pocket opening, so the zip is set in a ‘casing’. Step five Place the pocket back RS together with
buck t bag 03
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the assembled zip panel. 02 Step six Sew around these pieces, leaving the top edge open. Clip the corners, turn RS out, press. 04 Step seven Sew the pocket to the top edge of the lining panel.
ATTACHING THE LINING Step one Assemble the lining in the same way as the outer panels. Leave a turning gap in the seam when joining the upper and lower sections. Step two Sew the round base of the lining in place and clip around the seam allowance to allow the base to sit flat. Step three With RS together, sew the top edge of the upper lining panel to the top edge of the upper outer panel. The pocket will be sandwiched between the two pieces. Turn RS out through the turning gap, then sew it up by hand using slip stitch or with a machine stitch from the lining RS.
MAKING THE HANDLE Step one Fold in 1cm (½in) along each long edge of the handle top. Step two Centre the handle underside edge on the handle top with long edges aligned and pin or clip in place. Step three Pass the handle top through the snap hook, then fold the short ends 5cm (2in) under the handle underside to conceal the ends. Re-pin/clip.
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Step four Topstitch 2-3mm (1⁄8in) from the long edges of the handle to join the top handle and the handle underside. Step five Pivot when you get approx 1cm (½in) from the snap hook ring. As the machine foot will not let you get close to the snap hook ring, you will need to backstitch a few times to secure.
Pick gold hardware to match the faux leather base panel.
ATTACHING A MAGNETIC FASTENER Step one With an erasable fabric marker, mark the position of the magnetic snap fastener on the front of the bag within the top facing panel. Step two Make a small slit with scissors. 05 Step three Push the prongs of the fastener through and put the metal plate underneath. 06 Step four Repeat with the other part of the snap fastener on the other side.
SETTING THE EYELETS Step one Mark the position of the eyelets, again within the top facing panel. Place the eyelet in the correct position and draw around the inside of it. Step two Cut out the circle with scissors. 07 Step three Place the upper part of the eyelet in this hole, then position the lower part underneath. Step four Set the eyelets in place with a hammer, following manufacturer's instructions. 08 Step five Clip the bag handle in place through the eyelets to finish.
This project is from A Beginner's Guide to Bag Making: 20 Classic Styles Explained Step by Step by Estelle Zanatta and Marion Grandamme. £12.99 from www.searchpress.com
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Sewing workshops with Maria. Make Frida rag dolls, bags, and many other workshops available.
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BREAKING THE BOUNDARIES OF COLOUR
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transform IT!
UpcYcle QUICK PROJECT
copy cats
Wear your 'cat lady' status with pride and add Lana Red's quirky stitched kitty duo to a plain pocket cardi.
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transform IT! 01
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YOU WILL NEED
Q Jumper or cardigan with pockets Q Neutral cotton or linen fabric: 40x50cm (16x19¾in), for the embroidery Q Felt: 2 x A4 sheets Q Stranded cotton in a range of colours (see notes) Q Embroidery hoop: 20cm (8in) Q Embroidery needle Q Erasable fabric marker or tailor's chalk Q Basic sewing kit NOTES Q Download the templates from www.simplysewingmag.com/ downloads Q Stranded cotton in various colours is needed for the cats’ fur, eyes and clothing, plus black and white for details and outline. Q We used three strands of stranded cotton throughout. Q The embroidery instructions are based on the white cat, but you can of course choose any colour thread for your cat’s fur and clothing.
EMBROIDERING THE DESIGN Step one Trace the cat stencil onto the fabric with an erasable fabric marker or tailor’s chalk. Place the fabric with the traced image on top of a piece of felt. Place the two pieces of fabric in the embroidery hoop. 01 Step two Thread the needle with three strands of black stranded cotton. Push the needle through the back of the layered fabric and start embroidering the eyes and mouth with a simple back stitch. 02 Step three Thread the needle with three strands of white stranded cotton. Push the needle through the back of the layered fabric and start embroidering the white section of the image using a simple back stitch (on the bottom part of the face). 03 Step four Repeat to embroider the full colour parts of the design. Once you have finished embroidering the entire piece, you can add shading and extra details in the face, the ears, and so on. 04 Step five Remove the embroidered fabric from the embroidery hoop. Mark all around the edge approx 1cm (3⁄8in) away from the embroidery then cut the shape out. 05
ATTACHING THE DESIGN Step one Place the embroidered piece 1-2cm (3⁄8-¾in) below the top edge of the pocket. Place a scrap piece of felt that is slightly larger than
60 WWW.SIMPLYSEWINGMAG.COM
the design on the inside of the jumper, aligning it with the embroidery. Hold the embroidery and felt in place with a few pins. Step two Thread the embroidery needle with three strands of white stranded cotton and use a tight whip stitch all around the embroidery, going through all three layers and using the 1cm (3⁄8in) edge to secure the embroidery artwork to your jumper pocket. 06 Step three Repeat to make and attach the other cat if desired.
happy habby
Keep stitching essentials in Minki Kim’s project pouch, with two zipped sections to fill with sewing goodies!
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WWW.SIMPLYSEWINGMAG.COM 61
ip pouch 01
02
03
04
05
06
YOU WILL NEED
Q Outer fabric: 1 fat quarter Q Lining: 30cm (12in) Q Woven fusible interfacing: 1 fat quarter Q Zips: 2 x 20cm (8in) Q Zip foot (optional) Q Faux leather scrap: 5x1.5cm (2x½in) Q Stranded cotton Q Matching thread Q Basic sewing kit FABRICS USED From the Winter Tales collection by Minki Kim for Riley Blake Designs. www.rileyblakedesigns.com
CUTTING OUT Step one From the outer fabric cut: Pouch outer front and back: two 22x20cm (8¾x8in). Main zip tab ends: two 2.5x3.5cm (1x1½in). Step two From the lining fabric cut: Lining: two 22x20cm (8¾x8in). Inner pocket: four 22x18cm (8¾x7in). Inner zip end tab: two 2.5x5cm (1x2in). Step three From the fusible interfacing cut: Front and back interfacing: two 22x20cm (8¾x8in).
PREPARING THE PIECES
NOTES Q Use a 5mm (¼in) seam allowance unless otherwise noted. Q Cotton ribbon can be used in place of faux leather if desired. Q Using a zip foot will help you to get close to the zip teeth resulting in a neat finish. Q If desired you can add a tab while sewing the main pouch and/or sew a cotton label to the pouch to finish.
Step one Press the front and back interfacing pieces on the wrong side (WS) of the outer fabric front and back, then set aside. Step two Fold both ends of the main zip tab end fabric to the WS and press. Sandwich one end of the zip in between the folded ends of a zip tab end, then repeat on the other zip end. Step three Place the zip between the pouch outer front and a lining piece with the right side (RS) of the fabrics facing the zip. Use a zip foot to stitch along the length of the zip. 01 Step four Repeat these steps on the other side of the zip with the remaining outer and lining fabric pieces.
FINISHED SIZE Approx 21x19cm (8¼x7½in).
Step one Trim the inner zip by 1cm (3⁄8in) from
62 WWW.SIMPLYSEWINGMAG.COM
MAKING THE INNER POCKET
the closed end, backstitch over the zip teeth to create a new stopper. Step two Attach the inner zip end tabs in the same way as for the outer zip. Step three Place the inner zip between the two inner pocket pieces, matching long raw edges with the RS of the fabrics facing the zip, and stitch along the length of the zip using a zip foot. Repeat on the other side of the zip. 02 Step four Trim 2.5cm (1in) away from the bottom long edge. 03
ASSEMBLING THE POUCH Step one Pin together the outer lining and pocket, matching bottom edges. 04 Step two Using a spool, trace around all four corners of the lining and outer fabric to create a rounded shape. Pin around the entire pouch, marking a turning gap along the lower edge of the inner pocket. Sew all the way around, then trim the seam and zigzag stitch the inner pocket seam for a neat finish. The inner pocket should measure 20x18cm (8x7in) in order to fit inside the outer pocket. 05 Step three Turn RS out through the gap. Pin the inner pocket and lining together along the turning gap and machine-sew 2mm (1⁄8in) from the folded edges, backstitching at the start and end of the seam. Step four Tuck the inner pocket inside the outer pocket and press to finish. 06
JUST
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a good read
À LA MODE
We chat to Central Saint Martins lecturer, fashion designer and Great British Sewing Bee judge Esme Young about why it’s time all of us started making, upcycling and treasuring our clothes.
T
he BBC's Great British Sewing Bee has come back to our screens for a fantastic fifth series, and with it sees the return of judge Esme Young. After a triumphant debut in the 2016 series, Esme is back and ready to cast her expert eye over a new group of talented amateur sewers, along with fellow judge Patrick Grant. With her trademark sharp bob and collection of some seriously envy-inducing statement jewellery, Esme definitely looks the part – and there’s no doubting she’s got the sewing skills and fashion knowledge to go with it. As senior lecturer on the prestigious fashion course at Central Saint Martins College, London (the same college she attended herself in the 1970s) Esme is no
Written by Sarah Dawson. stranger to working with budding designers who are passionate about creating beautiful clothes – now, the only difference is that the feedback she’s giving is on television!
"FASHION IS THE SECOND MOST POLLUTING INDUSTRY IN THE WORLD AT THE MOMENT. PEOPLE SHOULD BE MAKING THEIR OWN CLOTHES AND HANGING ONTO THEM." Esme’s own career in fashion took off in the early 70s, when she co-founded the iconic fashion label, Swanky Modes. The brand’s cutting-edge designs appeared in many
high-profile magazines, including Vogue, ID and The Face, shot by some of the world’s most famous fashion photographers (think David Bailey and Helmut Newton to name just two). Swanky Modes’ shop in Camden Town, London, attracted names like Grace Jones, Julie Christie and Toyah Willcox, and their signature bodycon dresses were adored by some of the 1980s' biggest celebrities (Cher was a big fan!). The label’s bold aesthetic earnt its place in the fashion history books and you can still see some of Swanky Modes’ dresses on display in the V&A and Museum of London. It was during the 80s that Esme branched out and began working with independent stylists and costume designers, which led to her opening her own studio. A career in film
Photo: BBC/Love Productions/Mark Bourdillon
Esme brings years of experience in fashion and costume design to GBSB – not to mention excellent taste in jackets!
64 WWW.SIMPLYSEWINGMAG.COM
a good read designing and making your own clothes and bringing the focus back onto quality, rather than quantity, Esme hopes the show will encourage viewers to think about the value of clothes, as well as where they come from. “I started sewing because I wanted to make something personal. Now people will look at a T-shirt and think 'Oh, it’s only £3’ so will buy it, even though they probably won’t even wear it,” she says. “The whole sustainability thing is so complicated – it really is mindboggling. But the bottom line is, we should be buying less and keeping things for longer.” A social conscience, amazing fashion credentials and impeccable taste in lipstick? Welcome back, Esme – we’ve missed you! For more Great British Sewing Bee news and interviews visit www.simplysewingmag.com
Photos bottom right: BBC/Love Productions/Charlotte Medlicott; Other photos: BBC/Love Productions/Mark Bourdillon
Left: This year's bunch of Bees! According to Esme, they've all become firm friends while filming the show. “It’s quite magical to see how the sewers bond together throughout the series,” she says. “I really love that.”
costume design beckoned and Esme went on to create some of the big screen’s most iconic costumes. Remember Bridget Jones’ bunny girl outfit? That’s one of Esme’s! Today, Esme continues to make costumes in her Hackney studio – in between her teaching and filming commitments. Busy just about covers it! Esme has always had a knack for spotting talent, mentoring up-andcoming designer Ashish before he hit the big time. She even helped out on his London Fashion Week collections, cutting patterns and creating the shape of designs, as well as doing the fittings. It’s no surprise, then, that watching the passionate sewists on Great British Sewing Bee grow in confidence and skill is one of her favourite parts of her role as judge. “It’s
actually quite magical to see how the sewers get better and bond together throughout the series,” she says. “I really love that.” A cause close to Esme’s heart is promoting awareness about the destructive nature of throwaway fashion, highlighted in this series’ ‘Reduce, Reuse, Recycle’ sustainability week. “The fashion industry is the second most polluting industry in the world at the moment,” she explains. “People should be making their own clothes and hanging onto them – not indulging in what I call a ‘feeding frenzy’ on the high street, where cheap clothes are just strewn all over the floor. A birthday card probably costs more than a T-shirt in certain shops – isn’t that shocking?” With The Great British Sewing Bee celebrating the art of
"SUSTAINABILIT Y IS SO COMPLICATED – IT REALLY IS MIND-BOGGLING. BUT THE BOTTOM LINE IS, WE SHOULD BE BUYING LESS AND KEEPING THINGS FOR LONGER.”
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Get the perfect fit every time with our handy fold-out guide.
Sewing feels pretty magical sometimes, doesn't it? We'll never get bored of the sense of accomplishment that comes with transforming fabric into a beautiful new garment – especially when that garment fits us to a tee! So we've filled this issue's fold-out guide with everything you need to know about accurate measuring and fitting at a glance, from finding your size to bust and length adjustments, and even how to pattern-match fabric – plus a table for writing your measurements down in. You'll be fitting like a pro in no time!
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bundle of joy Give a new arrival a colourful welcome to the world with Chloë Owens’ retro baby shower gifts – a simple-sew bib and pom pom skirt.
baby gifts 01
02
03
04
05
06
YOU WILL NEED
For the skirt: Q Main fabric (see notes) Q Pom-pom trim to fit along long edge of fabric (see notes) Q Elastic (see notes) Q Felt and buttons for flowers (optional) For the bib: Q Main fabric: 40x40cm (16x16in) Q Toweling fabric: 40x40cm (16x16in) Q Snap fastener Q Erasable fabric marker Q Matching thread Q Basic sewing kit NOTES Q The main fabric for the skirt should be a rectangle of fabric to fit your child – the circumference of their tummy or hips (whichever is larger) by the desired length of the skirt, plus 2.5cm (1in) for hems. Q The pom pom trim needs to be long enough to fit along the long edge of your skirt fabric. Q Download the template from www. simplysewingmag.com/downloads
70 WWW.SIMPLYSEWINGMAG.COM
Pom pom skirt ATTACHING THE TRIM
Baby bib
Step one Turn under and press a 1cm (3⁄8in) hem along the long bottom edge of the fabric. Step two Pin the pom pom trim to the hem on the wrong side (WS). Step three Sew the hem, attaching the trim at the same time. 01
Step one Download, print and cut out the template and check the sizing. Step two From the main fabric cut: Bib front: one using the template. Step three From the toweling cut: Bib back: one using the template.
SEWING THE SKIRT
SEWING THE BIB
Step one Right sides (RS) together, fold the rectangle so that the two short sides meet. Step two Sew the seam and finish the edges.
Step one Pin the bib front and back RS together. Sew around the bib, but leaving an 8cm (3in) turning gap at the centre of the neck. 04 Step two Turn the bib RS out and press, pressing under the seam allowances across the gap. Slip stitch the turning gap closed. Topstitch around the edges of the bib. 05 Step three Mark the position of the fastener on the strap and sew it on securely, making sure that the ball of the snap is on the upper end of the strap and the socket on the lower end. 06 Step four To finish, add trims or appliqué patches to personalise if desired.
INSERTING THE ELASTIC Step one Fold the top edge under by 5mm (¼in) and machine-sew a straight stitch all the way around. Fold the edge under again, but this time by 1cm (3⁄8in). Sew around the lower edge, close to the fold, leaving a 1cm (3⁄8in) gap close to the seam to thread the elastic through. 02 Step two Tie a safety pin to one end of the elastic to make it easier to thread through the channel. Thread the elastic through, keeping hold of one end. When the safety pin emerges again, match the ends (making sure the elastic isn’t twisted inside the channel), and hand-sew them together. Stitch back and forth a few times for extra strength. Slip stitch the gap closed. 03 Step three Add felt flowers/buttons if desired.
CUTTING OUT
These projects are from All Sewn Up by Chloë Owens, published by CICO Books, £12.99, www.makeetc.com. Photography by Claire Richardson © CICO Books
STITCH y r a r lib
cut out & Keep
Give the tooth fairy something to smile about with Mollie Johanson's cute pillow embroidered in needle weaving stitch.
N 23 o
NeeDle WeaVing
n d w aving 01
02
USE THE STITCH
LEARN THE STITCH 04
05
YOU WILL NEED
Q Linen fabric: 7.5x7.5cm (3x3in) Q Quilting cotton A: 20x20cm (8x8in) Q Quilting cotton B: 20x30cm (8x12in) Q White perle cotton size 8 Q Black stranded cotton Q Toy stuffing NOTES Q Use a 6mm (¼in) seam allowance unless otherwise stated. Q Download the template from www. simplysewingmag.com/downloads
TIP:
ion in h s u c r ade ou m be a e 'v d l e u W o w t but i , s ing e c r e a i p u r sq e h pap s i l g too. n E , s e i x e h great ittle l h t i w project 72 WWW.SIMPLYSEWINGMAG.COM
03
06
NEEDLE WEAVING
MAKING THE TOOTH FAIRY PILLOW
Step one Stitch a series of vertical lines within the shape you want to fill. Come up at the top of the shape, down at the bottom, then up at the bottom of the shape and down at the top. Repeat until the shape is filled. Make the stitches close together or further apart, but be sure to space them evenly. Bring the needle up at one edge of the shape and begin weaving the embroidery thread through the vertical stitches. Pushing the eye of the needle through prevents the point from catching or snagging the threads. 01 Step two When you reach the end of the row, go back down through the fabric. Come back up a short distance from the first row of weaving. Depending on the shape, this may be either a shorter or longer line of weaving. Weave the embroidery thread through this next row, making sure that you start so that the needle goes under all the previous places where it went over, and vice versa. Go back down at the end and continue filling in the area with weaving, keeping the rows even and straight. 02
Step one Embroider the tooth design on the square of linen. Stitch the tooth with needle weaving and the face with French knots and a scallop stitch. Use the white perle cotton for the tooth and three strands of black stranded cotton for the face. 03 Step two Sew the patchwork front fabric A and fabric B squares of quilting cotton together in a 4x4 checkerboard, using a 6mm (¼in) seam allowance. Refer to the images for placement. Step three Sew the embroidered linen and the pocket lining quilting cotton piece with right sides (RS) together, leaving an opening at the bottom for turning. Clip the corners to reduce bulk, then turn it RS out. Press the edges of the seam allowance at the opening to the WS. 04 Step four Pin and sew the embroidered pocket to the middle of the patchwork square, stitching along the two sides and bottom edge 3mm (¼in) in from the edges. Stitch around all four sides with perle cotton and running stitch. As you stitch across the top of the pocket, stitch only through the pocket itself and not through to the patchwork backing to leave an opening. 05 Step five Sew the front of the pillow to the backing quilting cotton square with RS together, leaving an opening for turning. Clip the corners and turn the pillow RS out. Step six Fill the pillow with stuffing until firm, then stitch the opening closed. 06
CUTTING OUT Step one From quilting cotton A cut: Patchwork front: eight 5x5cm (2x2in) squares. Pocket lining: 7.5x7.5cm (3x3in). Step two From quilting cotton B cut: Patchwork front: eight 5x5cm (2x2in) squares. Backing: 16x16cm (6½x6½in).
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We sell both new and reconditioned sewing machines. We service and repair all makes of machine, a small haberdashery, machines on display to try before you buy.
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Silks & velvet. Natural, printed and dyed. Small quantities at wholesale prices. 01386 881 507 beckfordsilk.co.uk
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In our Etsy Shop we have a great range of fashion, craft and quilting fabrics, ribbons, patterns and haberdashery.
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We are a “one-stop” patchwork and quilting shop in north Norfolk offering a fabulous range of cotton fabrics and workshops. Visit our new website and have a browse. broadlypatchwork.co.uk • 01603 781 665 info@broadlypatchwork.co.uk
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Check out our new website for a wide range of dressmaking fabrics and quilting cottons. More added every week! Fabrics, haberdashery and workshops. 10% off with code SIMPLYSEW10. Unit 8 Crown Walk, West Street, Bourne, Lincs, PE10 9PB. gathernsew.co.uk • 01778 420 464
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An online retailer specialising in fashion fabrics and modern haberdashery for dressmaking. Friendly and professional advice from sewists like you, plus free samples available of all our designs. Follow us on Instagram @ontrendfabrics. ontrendfabrics.co.uk • 01285 720 802
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road trip
Create a whole town for little ones to explore with Lucy Brennan’s patchwork and appliqué car playmat. Beep beep!
car p aymat YOU WILL NEED
Q Fabric A (dark grey): 70cm (28in) x WOF, for the roads Q Fabric B (light grey): 70cm (28in) x WOF, for the appliqué background Q Fabric C (red): 25cm (10in) x WOF, for the appliqué and binding Q Fabric D (yellow): 25cm (10in) x WOF, for the appliqué and binding Q Fabric E (orange): 25cm (10in) x WOF, for the appliqué and binding Q Fabric F (green): 25cm (10in) x WOF, for the appliqué and binding Q Fabric G (blue): 25cm (10in) x WOF, for the appliqué and binding Q Fabric H (light brown): 13x13cm (5¼x5¼in) square, for the appliqué Q Backing fabric: 44x44in (17½x17½in) Q Wadding: 44x44in (17½x17½in) Q Bondaweb Q Walking foot (optional) Q Matching thread for appliqué Q Basic sewing kit
LAYOUT DIAGRAM 5IN
SECTION ONE
SECTION TWO
SECTION THREE
4
1
12 6
13
5 19 2 14
11 3 9
NOTES Q Finished size approx 40x40in. Q Use a ¼in seam allowance. Q WOF = width of fabric. Q Subcut = Cut an already cut piece into many smaller pieces. Q Using a walking foot will make quilting multiple layers of fabric easier.
8 17 7
FABRICS USED The fabrics used are from the Moda Bella Solids collection. www.modafabric.co.uk
20
CUTTING OUT
ADDING THE APPLIQUÉ
Step one From Fabric A cut: Five strips 5.5in x WOF. Step two From these subcut: Large rectangles: two 20.5x5.5in. Medium rectangles: five 15.5x5.5in. Small rectangles: five 10.5x5.5in. Small squares: two 5.5x5.5in. Step three From Fabric B cut: Two strips 10.5in x WOF, and one strip 5.5in x WOF. Step four From the 10.5in strips subcut: Wide appliqué background: one 15.5x10.5in. Small appliqué background: two 10.5x5.5in. Square appliqué background: three 10.5x10.5in. Step five From the Fabric B 5.5in strip subcut: Large appliqué background: one 20.5x5.5in. Medium appliqué background: one 15.5inx5.5in. Step six From Fabrics C, D, E, F and G cut: Binding strips: Cut seven strips from the various colours long enough to make a binding strip 170in long. The binding strips will be joined together later on and the colours will be spread out to create an effect like in the main image.
Step one Trace the templates for the trees, tree trunks, houses, roofs, hotels and roundabout onto the paper side of the Bondaweb. Refer to the photo of the finished quilt for the layout. Add more trees or houses as desired. 01 Step two The house and hotel block include seam allowance, so can be put on the edge of the background fabric and won’t partly disappear when the patchwork is sewn. Step three For ease, trace the shapes needed for each colour close together – e.g. a hotel, two houses and two roofs that will be blue. You may wish to write the colour on the shapes. Then roughly cut around the group of shapes needed for each colour – be sure to leave space around the shapes and don’t cut on the traced lines. Step four Fuse the Bondaweb to fabrics C, D, E, F, G, H. Refer to manufacturer’s instructions to fuse correctly. 02 Step five Cut around each shape on the line. The roundabout is added towards the end once the quilt top has been pieced together so put this to one side for now. Step six Remove the paper backing from the Bondaweb and lay out the shapes on the pieces
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cut from Fabric B. Refer to the photo of the finished quilt for positioning. Make sure the roofs are on top of the squares for the houses. You can place the tree trunks in front of or behind the tree tops for different looks. 03 Step seven Fuse all of the shapes to the Fabric B appliqué background pieces. Step eight Using a coordinating thread, machine-stitch around each of the shapes with a satin stitch, small zigzag or other decorative appliqué stitch. 04 Step nine Add stitching for windows, doors or other details if desired.
PIECING THE QUILT Step one Sew the appliquéd pieces to the Fabric A pieces, referring to the quilt layout diagram for placement. Press the seams towards the darker fabric. Check the placement as you are joining the sections – there are a couple of places where the seams meet, so be sure to pin those carefully to achieve a neat finish. Step two There are three sections which are all created separately and then joined together at the end to create the quilt top (indicated by arrows 20 and 21 on the layout diagram).
MAKING SECTION ONE
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Step one Sew the Fabric B large appliqué background to a Fabric A large rectangle piece along the long edge with right sides (RS) of the fabric together. Step two Sew the short edge of this assembled piece to the long edge of a Fabric A small rectangle with RS together. Step three Take this assembled piece and sew the other long edge of the Fabric A small rectangle to the short edge of the Fabric B wide appliqué background piece with RS together. Refer to Section One of the layout diagram to ensure you are joining the right pieces.
MAKING SECTION TWO Step one Sew the Fabric B medium appliqué background to the Fabric A medium rectangle along the long edge with RS together. Step two Sew the Fabric B appliquéd square piece to the long edge of a Fabric A small rectangle with RS facing. Step three Sew these complete pieces together, RS together, using the layout diagram arrows for reference. Step four Sew the short edge of a Fabric B small appliquéd rectangle to a Fabric A small square RS together. Step five Sew this assembled piece to the long edge of a Fabric A medium rectangle with RS of the fabric together. Step six Sew this completed piece to the long edge of a Fabric A small rectangle RS together. Step seven Sew this assembled piece to the long edge of the remaining Fabric A large rectangle with RS together. Step eight Sew this completed piece to the one completed previously, RS together, using the layout diagram for reference.
MAKING SECTION THREE Step one Sew the long edge of a Fabric A small rectangle to a Fabric B square appliquéd piece RS together. Sew this assembled piece to a Fabric A medium rectangle RS together. Step two Sew a Fabric B appliquéd square to the long edge of a Fabric A small rectangle with RS of the fabric together. Step three Sew the short edge of a Fabric B small appliquéd rectangle to a Fabric A small square RS together. Step four Sew this assembled piece to the long edge of a Fabric A medium rectangle with the RS together. Step five Sew this assembled piece to the one completed previously, RS together. Sew that piece to the first assembled piece, RS together, using the layout diagram for reference.
ASSEMBLING THE QUILT Step one With RS together, sew Section One and Section Two together and then add Section Three to the other long edge of Section Two, referring to the quilt layout diagram.
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Step two Appliqué the roundabout to the quilt top and stitch in place, using the finished quilt image as a guide. The quilt top is now complete.
BACKING THE QUILT Step one Lay the backing fabric RS down on your work surface, place the wadding on top and then lay the quilt top over the wadding with RS facing up. Step two Smooth all the layers out from the centre as you assemble them. You can use masking tape to hold your backing fabric down and keep it flat. Pin well or use tacking stitches to hold the layers together. Step three Quilt the lines. Using a walking foot on your machine will help to keep the stitching even and prevent the quilt from puckering. We chose to quilt road markings using white thread so that the markings would stand out against the background. Our centered marking lines are 2.5in away from the seams – this means that they will sit centrally in the ‘roads’. Step four Trim the quilt to remove any excess wadding and backing fabric. The quilt top should measure approx 40x40in.
BINDING THE QUILT Step one Sew the binding strips together at the short ends using diagonal seams. Press the seams open and trim away the excess triangles of fabric. Step two Fold the long strip in half lengthwise, wrong sides together, and press. Step three With RS together and aligning raw edges, sew the binding to the quilt top, folding a mitre at each corner as you go. Before completing the binding, neaten the short raw end of the starting piece and insert the ending piece into it for a neat finish. Stitch the remainder of the binding in place. Step four Fold the binding over to the back of the quilt and neatly hand or machine stitch in place to finish. Lucy is a designer, quilter and blogger at Charm About You, and teaches patchwork and quilting classes. See more of her designs at www.charm aboutyou.com
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workshop
MACHINE MAINTENANCE
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We all know the frustration of tangled threads, broken needles and noisy stitching. Give your machine some TLC and follow these troubleshooting tips for keeping it stitching smoothly.
Whatever type of machine you have, maintenance is a must! Always refer to your manual before you start.
hen was the last time your machine was serviced? For some of us, it might have been a few months ago, and for others a few years – but, more commonly, it’s never! The key to achieving the best stitching quality and prolonging the life of your machine is to ensure it is in proper working order with a professional service at least once a year. Doing a DIY service every few months won’t mean you never need a professional service, but it will ensure your machine will serve you for the longest possible time. Think of it as you would your car – yearly services are essential, but that doesn’t mean you don’t top up the oil and care for it in between! Here we share some basic tips that you can easily carry out at home to keep your sewing machine running smoothly. DOS AND DON’TS DO Service your machine yearly with a local professional. Often fabric/haberdashery shops will do servicing in-house, or will be able to recommend a third party. DO Unplug your machine before attempting any maintenance, even if it’s something as simple as removing the bobbin plate. Metal tools and electricity don’t mix! DO Refer to your manual for guidance – if you don’t have your manual, contact the manufacturer or search online for a copy. DO Keep your machine under a cover in between projects to protect it from everyday knocks, dust and spills. DON’T Attempt to remove any of the internal machine mechanisms or wiring. DON’T Spray any cleaning chemicals on your machine. Simply use a microfiber cloth to wipe it over. No water should ever to come into contact with the internal parts. DON’T Attach magnetic pincushions to your machine as the magnets can cause problems on the inside of your machine. DON’T Force the handle. If it won’t turn, you will most likely break the needle and possibly cause expensive damage to the machine. Instead, investigate the problem by raising the presser foot and checking the bobbin case for thread nests.
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MACHINE TROUBLESHOOTING Problem: The needle breaks. Solution: Check that the needle has been inserted correctly and is not blunt or bent. Don’t pull on the fabric as you sew; this puts pressure on the needle, causing it to break. Problem: The thread breaks. Solution: Check that the machine is correctly threaded. Unthread the machine completely and rethread. Check all of the above needle issues. Use high-quality thread. Problem: There are skipped stitches. Solution: Check all needle and thread issues above. Make sure you are using the correct needle type for your fabric.
Problem: Seams are puckered. Solution: Check the thread tension, as explained on the following page. Check that the machine is threaded correctly. Unthread and rethread it if necessary. Problem: Machine is not operating. Solution: Check the power supply and that the power cord is firmly in place. Problem: Fabric is not being fed through the feed dogs correctly. Solution: Dust the feed dogs so that they are free of lint and oil. Check that the presser foot is in the down position. The pressure foot pressure can also sometimes be altered – refer to your manual for guidance.
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MAINTAINING YOUR MACHINE CLEANING THE BOBBIN CASE
Remove the bobbin plate with a screwdriver – don’t use the wrong screwdriver as you will strip the head of the screw and as screws in sewing machines are very specific you may struggle to find a replacement. 01 Fabrics and threads will leave lint behind, so sweep out the bobbin case and around the needle after every project. You should unscrew the bobbin plate every two or three projects and have a good sweep out inside. Use tweezers to pick up any difficult-to-reach pieces of lint, but don’t blow in the machine as bits of moisture can cause issues with it, and blowing the lint may just force it further into the machine. 02
MACHINE NEEDLES
Bent needles can be hard to spot – if you’re not sure, remove the needle from the sewing machine and lay it out on your surface to assess whether it needs replacing. Even if a needle is bent the tiniest amount it will be enough to affect the quality of stitches. If your machine is making a loud noise with each stitch, the chances are the needle is faulty. Snapped needles are usually easier to spot than a bent needle. Use a new needle for each project and always use the correct needle for your fabric – ballpoint for stretch fabrics, sharp needles for fine fabrics, and so on – as this will prevent skipped stitches or snags in your fabric. 04
Machines usually come with the tools needed, but a set of small screwdrivers may also be useful.
THREAD TENSION OILING YOUR MACHINE
Most sewing machines need occasional oiling, however some modern machines do not. Check in your manual before going near your machine with oil! If it is necessary to oil your machine, the manual will tell you where to put the oil, and you should have a cloth or rag to hand to mop up any excess. Before sewing you will need to check that there is no oil left over and run a scrap of fabric through the machine to be sure. Oil will quickly ruin any project that picks up excess! 03
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If your tension is too tight the thread may appear as a straight line on the top side of the fabric. The fabric may also pucker as you sew. The bobbin thread is being pulled very tight which causes the puckers. 05 If your tension is too loose the thread may appear as a straight line on the under side of the fabric. The thread on the top side of the fabric may have loops or be visibly loose. 06 Move the tension dial on your machine according to the issue you have – the higher the number, the tighter the tension.
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We meet with the five founding fabric designers of new creative collective Ruby Star Society about Cotton + Steel, career curveballs and the strengths of sisterhood. Written by Sarah Gane.
A GOOD R AD
Ruby Star Society's HQ is a light, bright, art-filled space in a converted factory in Atlanta.
LEAP AND THE NET WILL APPEAR
Making a decision like this wasn’t easy, yet an exciting new path was beginning to emerge from the rubble. “As the dust was settling, everyone was personally trying to work through their own grief about it and find their own way to the next thing,” they tell us. “That’s when Melody began building Ruby Star Society, and she was eventually able to bring all the designers back on board, which everyone is thrilled about.” This time round, the team are working with Moda Fabrics. Melody, Ruby Star Society’s
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Creative Director, has been building the brand according to her creative vision, while Moda is providing the organisational and operational support needed to bring it to life. “We are so honoured to be collaborating with Moda Fabrics to create Ruby Star Society… they are the nicest people to work with and have welcomed us into their professional family with open arms.” Having the logistics in place has meant that the team can get back to what it was all about in the first place: making beautiful
“We are a company of creators and dreamers; a sisterhood of empowered women." prints and patterns for textiles. “It has been really great to be able to move on, start something new and get back to work designing fabric together again.” Setting up a creative studio in a converted factory building in Atlanta, Melody and the brand manager Devon Iott decorated the space, hanging lots of art on the walls and creating a beautiful place to work in. “The main feature is all the old industrial windows. Two whole walls are covered with really big windows, and we always joke that it means the weather outside is also the weather in the
studio. When it’s bright and sunny, the whole studio is lit up; when it’s dark and rainy, it feels like you’re in a storm cloud.” While the rest of designers live and work remotely in other parts of the US, they all have weekly phone calls to chat, catch up and keep everyone updated on what’s happening in the studio. The fact that distance is no barrier for the collective is testament to the strength of this sisterhood. “We always find that when we collaborate, we create something that’s even better than a sum of the parts. It’s hard to know exactly why that is. We all just really click with each other. We do know that we are fortunate to all have met and connected.”
BUILDING A COMMUNITY
It made sense, then, that this collaborative, pioneering spirit was woven into the very fibre of Ruby Star Society’s powerful opening manifesto: “We are a fabric company of creators and dreamers; a sisterhood of empowered women who have stood together, grown strong, and learned, trial-by-fire, that if you tune out all the noise,
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Photos: www.rubystarsociety.com
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e’ve all been there. You reach a critical point in your sewing project, and then you realise something’s not quite right. It means unpicking all your hard work and starting again. It’s painful to do, especially given how much effort you’ve put into it so far, but you know that in doing so what you’re creating will be much stronger as a result. As the founding designers of Ruby Star Society will know, out of such adversity comes strength. Each one of them – Melody Miller, Alexia Marcelle Abegg, Sarah Watts, Kimberly Kight and Rashida Coleman-Hale – have been designing fabric together since 2013 under the name Cotton + Steel. Part of RJR Fabrics since the beginning, the past two years presented some challenges for the company and, as a result, the designers decided as a group that it was time to leave.
Ruby Star's designers “all have their own influences, but you can expect their collections to be a continuing evolution of their previous design work.”
listen to your inner voice and get out of your own way, you can create fearlessly.” And, better yet – as we all know from attending sewing socials, classes or workshops – when we get together with like-minded friends, magic can happen. Creative ideas bounce back and forth and positive words of encouragement flow, as well as a sense of camaraderie. As the team tells us: “We feel as women, we are constantly conditioned to want to compete with each other, but this doesn’t help anyone. We know that we are far stronger and more empowered, both as a company and as individuals, if we celebrate each other’s successes instead of envying them. Having a group of women you can turn to for advice, to vent to, laugh with, send memes to – that's one of the most valuable things in the world.” Each of the five founding designers bring a different illustration style and energy to the team, complementing each other beautifully. And, as you’d expect, each designer has their own process for bringing their ideas to life. Sarah and Alexia normally start on paper, drawing or painting then scanning onto the
computer to create the print. Meanwhile, Melody and Rashida work digitally on the computer, sketching and experimenting. Vintage fabric expert Kim Kight often begins by looking through her personal fabric archive (oh, how we'd like to take a peek!), to find something she likes to use as “a jumping off point to either recreate a vintage print or design something new.”
WORKING TOGETHER
Every part of the design process is collaborative, as the team explain: “Once the designers have submitted their collections, Melody helps to finesse the colouring and scale so the designer’s original vision can really shine.” And, something that’ll come as great news for us sewists: all the Ruby Star Society designers use colour palettes that can be mixed and matched across the collections, allowing you to pair fabrics for a project even if they’re by different designers. The first collections are due to launch this summer, with what the team are calling 'Ruby Star cotton' – a super-soft, 100% cotton fabric that is technically a quilting cotton but
Photos: www.rubystarsociety.com
“Having a group of women you can turn to for advice is one of the most valuable things.”
A GOOD R AD
Once the designers have finished their ranges, Melody helps "finesse the colouring and scale so the designer’s original vision can really shine.”
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Say hello to the five multi-talented makers, designers and creators dreaming up the prints you'll love to sew with: Melody, Alexia, Rashida, Sarah and Kimberly. MELODY MILLER | @MISSMELODYMILLER Melody Miller grew up in the Lowcountry of South Carolina, quite possibly the prettiest place on earth. Later, she felt just as much at home in New York City, where she studied industrial design at Pratt Institute. It's also where her love for vintage objects began. She found her way to fabric design and designed numerous collections for Kokka fabrics. In 2013 she dreamed up the idea for Cotton+Steel and became one of the five founding designers. Inspired by 1960s and 70s-era art and illustration (think Andy Warhol’s fashion illustration and screen prints), Melody’s style evokes retro vibes reminiscent of that bold and colourful time. She works in Photoshop and uses a variety of different techniques, layering colours like a screen print. The end result has a slightly photorealistic style, but with vibrant colour and prints that are a little off-register. ALEXIA ABEGG|@ALEXIAMARCELLEABEGG Nashville-based Alexia Marcelle Abegg was born in Folsom, California, on the day Mount St. Helens erupted. She has been inspired by her mother and father’s creativity and dedication to art throughout her life. After trying her hand at many creative pursuits, including photography, acting, costuming and custom sewing, Alexia found a home creating fine art quilts and sewing patterns while living in Brooklyn. She also created a pattern company with her mom Michelle called Green Bee Patterns, and she was a founding designer of Cotton+Steel. She currently works with clay, paper, textiles, paint, ink and dye, and her hands are always moving. Alexia’s work is raw and a bit rough; she likes to keep things from becoming too polished. She is very interested in makers’ marks, so she does a lot of hand-processing, like painting or block printing. She believes there is an approachable aspect to a piece or print when you can see evidence of the artist’s hand in the work. RASHIDA COLEMAN-HALE | @RASHIDA_ COLEMAN_HALE A Production Designer at Google, Rashida Coleman-Hale has been making things ever since she can remember. She studied fashion design at the Fashion Institute of Technology in New York City. Not sure if fashion was her calling, she traded her sewing machine for a computer and worked as a freelance graphic designer. Her
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passion for sewing was rekindled in 2006 after the arrival of her first child, and she began her blog to document her re-born creative life. Rashida has since published two sewing books and has created fabric for Timeless Treasures, Cloud9 Fabrics, and as a founding designer of Cotton+Steel. Inspired by childhood summers in Japan with her fashion model mother, Rashida is heavily influenced by the Japanese Zakka style of sewing, with a mismatch of colourful, cute and quirky things. She loves Japanese culture, and it really shines through in her work: a lot of her art has that funky, weird Japanese vibe. Rashida’s style tends to be more playful and graphic, with a palette of aquas, magentas, fuchsias and metallics. SARAH WATTS | @WATTSALOT As a child with limited means and imaginative parents, Sarah Watts was always drawing to pass the time. By high school, she was already selling artwork to help her family with bills. Since graduating with a degree in illustration she has worked prolifically, with gigs like illustrating numerous book covers and creating fabrics as a founding designer of Cotton+Steel. Most recently she started a company with her husband called Craftedmoon, which specializes in stationery and gifts for the crafty homebody. Sarah loves drawing cute, cuddly animals, but her art also has a darker side because she loves creepy things as well. Growing up, Halloween was like her family’s Christmas (they even lived in some haunted houses!). She appreciates Halloween because it’s a time when everyone can be whatever they wish without judgment, and that shows in her designs. KIMBERLY KIGHT | @KMELKIGHT Kimberly Kight helped shape and influence the modern fabric and quilting scene in the mid 2000s with her successful, now-shuttered blog True Up, but at heart she is a traditional quilter. From the time she started sewing she has collected vintage fabrics, scouring eBay, thrift stores and flea markets for the best finds. As one of the founding designers of Cotton+Steel, she took elements from these vintage fabrics and reworked them in fresh new ways for the modern sewer. Kimberly is also a published author, a quilt pattern designer and teacher. Her favourite fabrics come from the midCentury period – the 1940s through to the 60s. She loves the era's quirky designs and how they can be recreated in such a timeless way.
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Photos: www.rubystarsociety.com
comes in a lighter weight, making it more versatile for other projects such as garment sewing. Each designer will be releasing their own collection of prints, and their own basics as well. “They all have their own influences, but you can expect their fabric collections to be a continuing evolution of their previous fabric design work,” Devon tells us. Being makers themselves, each member of Ruby Star Society are hoping that their work will inspire sewists to create. “Every piece of fabric truly comes from that designer’s heart, and so one of our greatest joys is seeing someone take it and turn it into something that comes from their heart too. It’s kind of like the ultimate form of collaboration.” As a collective, their core belief is not only that anyone and everyone has the ability to create something, but also that it’s vitally important to do so whenever, and however, we can. “As our world gets more and more high tech, there are fewer and fewer things in our lives that are slow, tangible processes. As humans, we are still wired up to crave the satisfaction that comes from spending time on tactile projects, so making something can feel very therapeutic.” There are many added benefits to making with your hands, as they explain: “Focusing on a single concrete task is also really good for your brain, especially in our distracted times. And, ultimately, creating is empowering – it makes you realise how much you really are capable of. This is why we do what we do – to hopefully help everyone feel that happy jolt of, 'I did this'.” See more at www.rubystarsociety.com and www.instagram.com/rubystarsociety
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Sew patterns for a beginner's tee and kid's pinafore and read about the new series of the Sewing Bee.
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Collect patterns for a top, dress and bag – plus, a copy of our Essential Guide to Dressmaking book.
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Sew an unlined coat and pinafore, Named blouse, snowman toy, advent calendar and home projects.
IssUe 48
Make a party dress, quick-sew gifts, modern Xmas decs, a gingerbread house toy and a circle skirt.
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Make a tie-waist dress, bowling bag, ruffle dress, children’s room makes and a classic rag doll toy.
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counting sheep Sew a cute new pal for playtime games and bedtime snuggles with Lucy Ward's adorable lamb plushie, finished with a velvet ribbon and Liberty bow.
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YOU WILL NEED
Q Fabric A: 50x27cm (20x10½in), for the head, body and outer ears Q Fabric B: 45x20cm (18x8in) for the legs, arms, and face Q Fabric C: 15x13cm (6x5in), for the inner ears Q Fabric D: 18cm x 11cm (7x4½in) for the bow middle, 5x4cm (2x2in), for the bow Q Black stranded cotton Q Polyester toy stuffing Q Velvet ribbon: 40cm (16in) Q Matching thread Q Basic sewing kit
FINISHED SIZE Approx 36cm (14in) tall.
NOTES Q Download the templates from www. simplysewingmag.com/downloads Q Use a 5mm (¼in) seam allowance throughout unless otherwise indicated. Q The templates include seam allowances where necessary. Q Fur pile should run downwards, indicated by arrows on the pattern pieces.
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CUTTING OUT Step one Download, print out, and then cut out the templates. Step two Pin the pattern pieces onto the reverse of the fabric and draw around them. Mark the openings, positionings and darts where indicated on the pattern pieces and cut out. Step three From Fabric A, cut out as follows: Body/head: cut two. Ears: cut two. Step four From Fabric B, cut: Legs: cut two pairs. Arms: cut two pairs. Face: cut one. Step five From Fabric C cut: Inner ears: cut two. Step six From Fabric D, cut: Bow: cut two. Bow middle: cut two.
MAKING THE ARMS, LEGS AND EARS Step one Pin the arm pieces right sides (RS) together. Stitch together, leaving the short ends open. Clip the curves. Turn RS out and stuff firmly, using a pointed tool such as a knitting needle to help you get right to the ends. Leave 2cm (¾in) free of stuffing at the open end to make it easier to sew into the seam later. Repeat to make the legs. Step two By hand, tack the ends of the limbs closed to keep the stuffing in place and make the limbs easier to insert into the body. 01
Step three Pin the ear pieces RS together and sew between points A and B marked on the pattern, leaving the short ends open. Turn RS out and clip the curves. Fold each ear in half down the middle, then hand-sew along the open edge to secure. 02
MAKING THE MAIN HEAD/BODY Step one Fold each head/body piece with RS together in half lengthways and pin to keep in place. Pin along the dart and stitch, then trim away the seam allowance. 03 Step two Pin the body pieces RS together. Use lots of pins or clips to prevent the fabric from shifting.
ASSEMBLING THE LAMB Step one Sandwich the legs, ears and arms between the body pieces, where marked. Pin in place. Tack all the way around the body, taking particular care where the limbs and ears are inserted to ensure they are properly caught into the seam. Remove all pins and turn RS out to check that everything is in the right place and adjust if necessary. 04 Step two Turn back RS together. Replace the pins or clips to help keep everything in the right spot and to prevent the fabric from shifting. Stitch all the way around, leaving a 5cm (2in) gap for turning. Take your time and stitch slowly. Double stitch the limbs and ears to ensure they are secure. Step three Turn RS out and stuff firmly but carefully, using a stick or your fingers, pushing
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right into the edges. Turn in the edges of the opening and overstitch or ladder stitch to close.
MAKING THE FACE Step one Fold the face in half RS together and pin in position. Pin along the dart and stitch. 05 Step two Trim the seam and turn RS out to reveal the face shape. 06 Step three Roll the raw edge of the face under slightly, to prevent any fraying, and hand-sew using small stitches, just catching the wrong side (WS) so that it doesn't show on the RS. 07 Step four Pin the face to the head using the head/ body template as a guide to positioning. Handstitch in place using small overstitches, staying close to the edge of the face. Leave an opening of around 2cm (žin). 08 Step five Take a small amount of stuffing and poke it into the gap, pushing it carefully to the edges. Once the face has a good amount of shape and fullness, close the opening and fasten off. Carefully pull out and fluff any trapped fur from around the face outline using a bodkin. 09 Step six Using the template as your guide, mark the eyes and nose out with pins, a pencil, or disappearing pen. Using four strands of stranded cotton, sew the eyes using small satin stitches or French knots and the nose using long back stitches. When fastening off, finish by taking the thread right through to the back of the lamb's head before snipping it. 10
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MAKING THE BOW TIE Step one Fold the bow tie fabric in half RS together, along the short side. Press with an iron. Sew around the edges, leaving a small gap for turning. Turn RS out, clip the corners and trim the seams, then press. Step two Fold along the longer length five or six times to form a concertina. Pinch with your fingers or pin together and secure in place with a few hand stitches. 11 Step three With RS together, fold the bow middle in half lengthways and stitch only along the long side, leaving the ends open. Turn RS out and tuck the ends under by a 5mm (Âźin), then press. Wrap around the centre of the bow and secure at the back with some hand stitches. 12 Step four Hand-sew the bow onto the piece of velvet ribbon, slightly closer to one end, then wrap the ribbon around the lamb's neck, before hand stitching the ends together. To make a removable collar, Velcro or a piece of elastic could be added to the ends instead.
Sew over joins, such as on the ears and arms, twice to ensure they are stitched securely.
Lucy has always loved making, drawing, painting, sewing and crafting. Find her at www.thewhistling cowgirl.co.uk, and search for The Whistling Cowgirl for Instagram for more projects.
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into bloom
Spring is in the air – and in our sewing room! Stitch Anna Alicia's just-in-bloom floral design for a keen gardener's wall.
Spring hoop 01
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YOU WILL NEED
Q Fat quarter of unbleached cotton fabric (see notes) Q Fat eighth cotton fabric (see notes) Q Scraps of two floral patterned cotton fabrics, for the pots Q Scrap of iron-on interfacing Q Felt: 25.5x25.5cm (101⁄8x101⁄8in), for backing Q Wooden embroidery hoop: 25cm (10in) Q Stranded embroidery cottons: white, cream, light green, mid green, mint green, pale mustard, lavender blue, pale lavender blue Q Matching thread Q Basic sewing kit NOTES Q Download the templates from www.simplysewingmag.com/ downloads Q We used a cross-weave blue-grey cotton, which has a bit more character than a plain cotton. Q The floral fabrics are from The Fabric Fox, www.thefabricfox.co.uk Q Fat quarter = 45.5x56.8cm (18x22in). Q Fat eighth = 28x45.5cm (11x18in).
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CUTTING OUT
EMBROIDERING THE DESIGN
Step one With tailor's chalk, draw around the templates on the two patterned fabrics and cut them out. Step two Cut the natural colour cotton fabric to 35x35cm (13¾x13¾in). Cut the light blue-grey cotton to 12x35cm (4¾x13¾in).
Step one With a pencil, lightly copy out the embroidery diagram provided on the template onto your fabric. 03 Step two Use a running stitch in mint green for the left pot and mid-green for the right to sew the stems, and satin stitch for the leaves using mainly light green, with cream for the base of each leaf for the left pot and mid-green for the right. We used three strands of embroidery cotton for all of the embroidery. 04 Step three Embroider the flowers on the right in white, using radiating stitches, and finish with straight satin stitches in pale mustard for the flower centres. 05 Step four Embroider the grape hyacinth flowers using French knots (we used around six or seven loops for each knot). You can of course alter the number of flowers and their positioning as you wish – the template is a guide for the suggested flower placement. 06
PREPARING THE PIECES Step one Pin the flower pot shapes to the ironon interfacing with the shiny/textured side of the interfacing facing the wrong side (WS) of the fabric. Cut around the shapes carefully, then press to fuse to the interfacing. Step two Lay out the main fabric and the strip of blue-grey fabric right sides (RS) facing so that the bottom long edge of the strip is 10.5cm (4¼in) from the bottom edge of the main fabric. Pin along the bottom edge of the fabric strip piece, 1cm (3⁄8in) in from the raw edge. Step three Sew in place, then fold the fabric strip down and press the seam open.
ASSEMBLING THE POTS Step one Place the pots as shown in the image, so they overlap the seam between the two fabrics, and pin in place. 01 Step two With a medium zigzag stitch, sew around the edges of the pots. 02 Step three Stretch the fabric over your embroidery ring.
FINISHING OFF Step one Trim the excess fabric at the back so there is about 3cm (1¼in) all the way around. Step two Cut the felt into a 25.5cm (101⁄8in) diameter circle (or the diameter of your hoop if different) and pin to the back of the embroidery. Step three Hand-sew the felt to the back of the embroidery, tucking the excess fabric under the felt as you go to neaten.
a dog's life
Make like our four-legged friends and curl up under this cosy wool blanket decorated in simple reverse appliquĂŠ by Juliet Bawden.
r v rs APP IQUÉ b ank t 01
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YOU WILL NEED
Q Two blankets of the same size Q Tapestry wool, 3 skeins (see notes) Q Tapestry needle Q Stranded cotton in black or white (see notes) Q Embroidery needle Q Ribbon scrap: 8cm (3in) Q Water-erasable fabric marker Q Matching thread Q Basic sewing kit
PREPARING THE BLANKETS Step one Download, print and cut out the templates – you can enlarge the template if desired to suit the size of your blanket. 01 Step two Gather all of your supplies. Note that if your blankets are bigger than ours you may need more tapestry wool. 02 Step three Pin the dog shape onto the corner of one of the blankets and draw around it with the erasable marker. 03
ASSEMBLING THE REVERSE APPLIQUÉ NOTES Q Download the templates from www.simplysewingmag.com/ downloads Q Each of our blankets measured 156x140cm (61x55in) – if your blankets are different sizes, cut them so they are the same size. Q The stranded cotton is for the dog’s eye so you will most likely want to use black or white depending on how light or dark your fabric is. Q If your blankets are bigger than ours you may need to use more tapestry wool.
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Step one Place the second blanket on top of the one with the cut out so that the edges all match up evenly and pin them together. 04 Step two Pin around the template hole, adjusting the shape until it sits correctly and is not distorted. Step three Thread a length of wool through the embroidery needle. Tie the ends to work with the thread doubled over – this will make the stitches stand out. Hide the knot between the two blankets, then stitch around the dog using a running stitch. Using stranded cotton, stitch an eye and nose. Sew the small piece of ribbon around the dog’s neck as a collar. 05 Step four Using double thread and a 1cm (3⁄8in) deep blanket stitch, sew around the double blanket so all edges are covered in stitching – this will give the edges a textured finish. If your blanket has a fringed edge, stitch with running stitches instead. 06
This will work with other simple motifs – including cats, if they're your furry friends of choice!
The guide FRESH IDEAS WITH FABRIC
PinKing SheArs These cut a zigzag edge on fabric to neaten.
mat 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
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100
16
110
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120
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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.
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my favourite thing
something something borrowed borrowed Blogger and GBSB alumni Alex created her beautifully simple beach wedding dress from secondhand materials. "As part of my personal journey to a more sustainable wardrobe, I decided on 1st of January 2015 to stop buying clothes and focus on sewing my own meaningful wardrobe. This was also the year I got married and so I had a fantastic opportunity to make the most important dress of my life sustainable as well. As our wedding was on a beautiful little Caribbean island, I wanted a simple, short dress that would not look out of place with bare feet on the beach. With sustainability in mind, I was aiming to use as few resources as possible, so I chose to refashion a used dress I bought on eBay. Almost no new materials ended up in final outfit, as I reused not only the fabric, but also the zip, interlining, boning, hook & eye and lining. I still have fabric left
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that I am planning on using in some other sewing projects in the future. It really was a day to remember for the both of us, and it was even more special to me because of my sustainable wedding dress, refashioned and sewn by me. And it’s great to share this project, as it shows that a special dress for a special occasion does not have to mean buying expensive new fabric, and upcycling can be a great solution to make sewing more sustainable." Great British Sewing Bee series three contestant Alex is passionate about sustainability and sewing, and through her blog, Sewrendipity (www.sewrendipity.com), is encouraging her readers to make small changes towards a more sustainable and meaningful wardrobe.
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