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FRESH IDEAS WITH FABRIC When families get together for the holidays it’s all about sharing meals, playing board games and singing Christmas songs (badly), right? Make this year even more memorable with handcrafted homewares, gifts and kitchen accessories − your friends will be so impressed when you say “I made that!” Stash-bust your festive fabrics, embellish your Christmas jumpers and deck your halls with handmade fabric baubles…because it’s time for the most joyous season of the year, and we can’t wait.
i Em sual f 65 unure , p w ISSUE FORTY NINE
FRESH IDEAS WITH FABRIC
CONTENTS
ew he and dre Elo se coat ss , p 30
P18 STYLISH CHRISTMAS
grEat pAtterNs foR you
how To...
18 CHRISTMAS KITCHEN
55 WRAPPED BACK STITCH: HOOP
30 PATTERN: THE ELOISE SET
Learn the embroidery stitch and make
36 PATTERN: SADE BLOUSE
a Christmas hoop sampler
40 TRANSFORM: T-SHIRT DRESS
63 RAG RUGGING: FLORAL DISPLAY
49 BAG: MINI SATCHEL
Create a stunning table
53 TRANSFORM: XMAS JUMPER
centrepiece using this
57 FOLD-UP TOTE SHOPPER
traditional technique
61 PRETTY SWAN CUSHION
93 SEWING GUIDE
65 EMBROIDERED XMAS WREATH
Tips, techniques and
75 BEGINNER'S DIAMOND QUILT
a glossary
77 FABRIC ORIGAMI BAUBLES 81 EASY-SEW FELT ADVENT 84 SNOWMAN TOY
68
GGet iNs NsppirEd to to give lampSh Shaade MMakinG and uphoLsterY a tRy!
itch a
y Chr
w esi s gi p8 4
Take The pLunge
75 63 61 to win! SewIng MacHine bag, SheArs + FabRics BunDlE!
Trying new things can be scary, but it always feels good afterwards, right? This issue we've got a few new (neveer before featured!) ideas for you to try. Rag rug a vase of hydrangeas (p63), embroider an unusual hoop wreath (p65) and get the low-down on coat-making from the experts (p44). If you've never made a coat before, you'll find the sleeved-version from The Eloise Set is a wonderful overcoat for beginners − no big zips! This, and the Sade Blouse from Named d are at the top of my list. li t Wh Whatt's on yours??
Charlie Moorby, Moorby Editor
Your chance to win £120 worth of gorgeous g g new sewing goodies from Groves.
Turn to p14
goOd readS & ideaS
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Sew our exclusive two-in-one dress & coat pattern NEW SKILLS: Fabric origami Quilting 3D flowers App iqué Coat-making tips
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9 PINBOARD: Ideas, events, new fabric 14 WIN: £200 WORTH OF GOODIES 34 COLUMN: NAMED PATTERNS 44 FEATURE: COAT-MAKING SPECIAL 68 PROFILE: JOANNA HEPTINSTALL 80 PIN UP: PATCHWORK BAUBLES 97 COMING UP NEXT MONTH 98 MY FAVOURITE THING
CONTRIBUTORS Cheers to this clever bunch of makers...
FRESH IDEAS WITH FABRIC
EDITOR Charlie Moorby SENIOR ART EDITOR Lisa Jones PRODUCTION EDITOR Michelle Grady TECHNICAL EDITOR Roisin McKenna DIGITAL EDITOR Zoe Williams PHOTOGRAPHY Philip Sowels and Dave Caudery PHOTOGRAPHY SADE BLOUSE Arto Markkanen
Call 0117 300 8206 SENIOR ADVERTISING MANAGER Penny Stokes SENIOR SALES EXECUTIVE Tiffany Jackson CLIENT PARTNERSHIP MANAGER Beckie Pring
to s are lovelysew.” ic r b fa r te to re “Win d a pleasu look at, an
“Pleated skirts are on my style radar, and are quick to make!”
SUBSCRIPTIONS DIRECTOR Jacky Perales Morris DIRECT MARKETING EXECUTIVE Lily Nguyen HEAD OF NEWSTRADE MARKETING Natalie Shearer NEWSTRADE MARKETING MANAGER Helen Seymour Paul Torre, Karen Flannigan
SAARA AND LAURA HUHTA
ELISALEX DE CASTRO PEAKE
U
Helsinki-based sisters Saara and Laura set up their pattern brand, Named, in 2013, with designs inspired by Scandi simplicity. Discover Laura’s winter sewing plans on page 34, and make The Sade Blouse from their new book on page 36.
Elisalex is the co-founder of indie pattern label By Hand London. Their patterns are inspired by and named after the stylish ladies they admire, and ofer a new take on classic designs. Add a pleated skirt to a T-shirt with her refashion on page 40.
JUNIOR PRODUCTION COORDINATOR Lily Owens Crossman PRODUCTION MANAGER Sîan Rodgers / Emma McGuinness PRODUCTION DIRECTOR Sarah Powell
DIRECTOR OF INTERNATIONAL LICENSING & SYNDICATION MANAGER Tim Hudson tim.hudson@immediate.co.uk INTERNATIONAL PARTNERS MANAGER Anna Brown anna.brown@immediate.co.uk
PUBLISHER Liz Taylor CHIEF EXECUTIVE OFFICER Tom Bureau GROUP MANAGING DIRECTOR Andrew Gabriel MANAGING DIRECTOR, BRISTOL Andy Marshall
FRONTLINE Call +44 (0)1733 555161
BY WILLIAM GIBBONS
“Upholstery is a specialist skill that’s becoming sought-after.”
“We make our classes relax ed and full of gossip and gig gles!”
JOANNA HEPTINSTALL
THE STITCH SISTERS
Talented upholsterer, lampshade-maker and author Joanna Heptinstall teaches workshops at the Traditional Upholstery School, which she founded in 2016. Find out why she’s on a mission to pass on her heritage craft skills on page 68.
Rachel and Nikki, aka The Stitch Sisters, are the founders of Sodbury Sewing School, where they teach a variety of home sewing, quilting and dressmaking workshops. Dive into your irst coat project with their coat-making tips on page 44.
EDITORIAL TEAM simplysewing@immediate.co.uk SUBSCRIPTIONS TEAM simplysewing@buysubscriptions.com 03330 162 149
THURSDAY 29TH NOVEMBER 2018 No gift included? Ask your newsagent. Covergift may be unavailable overseas.
OTHER CONTRIBUTORS Anna Alicia, Christiane Bellstedt Myers, Jo Carter, Michael Caputo, Sarah Dawson, Jessica Entwistle, The Fold Line, Sarah Gane, Debbie Von Grabler-Crozier, Ebony Haight, Kirsty Hartley, Elspeth Jackson, Mollie Johanson, Jennie Jones, Eléonore Klein, Laura Pritchard, Lana Red Studio Special thanks to: Annelise Brant
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COMPETITION RULES By taking part in one of our Competitions, you agree to be bound by these Competition Rules. Late or incomplete entries will be disqualified. Proof of posting (if relevant) shall not be deemed proof of delivery. Entries must be submitted by an individual (not via any agency or similar) and, unless otherwise stated, are limited to one per household. The Company reserves the right in its sole discretion to substitute any prize with cash or a prize of comparable value. Unless otherwise stated, the Competition is open to all GB residents of 18 years and over, except employees of Immediate Media Company and any party involved in the competition or their households. By entering a Competition you give permission to use your name, likeness and personal information in connection with the Competition and for promotional purposes. All entries will become the property of the Company upon receipt and will not be returned. You warrant that the Competition entry is entirely your own work and not copied or adapted from any other source. If you are a winner, you may have to provide additional information. Details of winners will be available on request within three months of the closing date. If you are a winner, receipt by you of any prize is conditional upon you complying with (among other things) the Competition Rules. You acknowledge and agree that neither the Company nor any associated third parties shall have any liability to you in connection with your use and/or possession of your prize. Competition open 1 November - 6 December 2018.
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Immediate Media Company Bristol Limited (company number 05715415) is registered in England and Wales. The registered oice of Immediate Media Company Bristol Limited is at Vineyard House, 44 Brook Green, London W6 7BT. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Immediate Media Company Bristol Limited cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Immediate Media Company Bristol Limited a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk. Although every care is taken, neither Immediate Media Company Bristol Limited nor its employees agents or subcontractors shall be liable for loss or damage.
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for your chance to WIN! We have £600 worth of Amazon vouchers up for grabs, so get voting for your crafting favourites right now! Whether it’s a product you couldn’t live without, a local retailer that always goes the extra mile, a talented designer who inspires you with stunning projects, a must-read blog or a craft brand you couldn’t live without, we want to know. Vote now and tell us who you think should receive one of our coveted British Craft Awards for 2019.
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IDEAS
INSPIRATION
ACCESSORIES
WEBSITES
EVENTS
STUFF
MAGIC MAKING The long, dark, magical winter nights are the inspiration behind the two bewitching new patterns from Deer and Doe. Magnolia is our statement winter frock of dreams with a plunging neckline and floaty skirt, while the Opium swing coat has us shopping for luxurious wools and silky linings. Find the patterns at www.deer-and-doe.com
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ALLISCALM Shopping, cooking,
W
TaiLor Made Level up your sewing skills with some classic tailoring courtesy of Cashmerette’s timeless Chilton Trench Coat pattern. With so many construction techniques involved to add to your repertoire, this fully lined coat is fun to make (and to show off to your sewing pals!). Get the pattern at www.cashmerette.com
sewing, party-going – Christmas can be a whirlwind of activity, often with little time to actually enjoy it! So rediscover that fun festive feeling with Mindful Christmas magazine. It’s filled with ways to reinvent your holiday season, from thoughtful gift ideas and tips for stress-free Christmas shopping, to how to wrap your pressies sustainably and quick craft projects that’ll leave you time for a mulled wine (or two). £7.99, www. buysubscriptions. com/mindfulxmas
PUMPKIN SPICE As much as we love drapey summer fabrics, nothing quite beats getting all the soft knits out of our stash ready for some snuggly sewing! And first on our to-make list is CocoWawa Craft's new Pumpkin cardigan and dress. This cuteand-cosy cover-up is just the thing for pumpkin-spice season, and includes different neckline, ruffle, trim and sleeve details to mix and match. PDF £10, www.cocowawacrafts.com
PAINTERLY POSIES If we were to picture our dream winter fabric collection, it would look a little something like this! Atelier Brunette's latest range includes three swoon-worthy prints in five colourways: Posie, Shine and Tabby. Never ones to say no to a floral, we're head over heels for Posie, a modern, painterly design on soft dobby-textured viscose, in two shades: Posie Blue, with coral, white and pink on a navy base, and Posie Green, with teal and blush on white, both featuring a golden rust hue that's everywhere on the high street. We love the abstract Tabby and Shine prints too, ideal for blouses like Named's Sade top (p36). Visit www.atelierbrunette.com
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Say bonjour to French brand Atelier Brunette's beautiful new wintery viscose prints.
Pinboard
A BEGINNER'S GUIDE TO BAG MAKING Estelle Zanatta and Marion Grandamme (£12.99, Search Press) You'll never need to buy a bag again with this book of 20 classic bag styles to make, from simple-sew totes and shoppers to duffel and bucket bags – and even a Chanel-style design! Along the way you'll learn all the key bag-making skills for a neat finish, including adding the handles, lining and pockets. www.searchpress.com
mini profile MAVEN PATTERNS It’s the special, one-off details that make us fall in love with a pattern, and the Maven Patterns collection is full of them! From the Kitty Dress' unique bust darts and the funnel neckline of the French Dart Shift (a customer favourite, says Mrs Maven, also known as Mrs M: “she’s so versatile”), to the Rochester's gathered high neckline (so on-trend right now), there's sure to be something that'll catch your eye. Having worked in pattern cutting for the high street, Mrs M says she's “not interested in going back to producing garments just for the sake of it. I’m happier enjoying the process and releasing fewer styles with longevity in mind.” Ideas for new pattern designs are most often sparked by what she needs in her own wardrobe – in fact, it’s what led her to launch her brand in 2013. “I was working in a bridal store and I needed a work outfit that was both professional and practical; something that would allow me to reach high stock and get on the floor to faff with hems, which is how the French Dart Shift dress came about. It just took a further two years to learn how to digitise the patterns and get going!” She’s something of a magpie with styles, finishes and construction details. “Inspiration literally comes from everywhere, every day. Sometimes it can be the smallest details or techniques that can trigger an idea. I grew up watching a lot of old films from the 1950s and 60s, so these have influenced my style. And I have been known to follow people around supermarkets to get a better look at their
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dress.” We’re glad we’re not the only ones! New releases are tested thoroughly to make sure they’re perfect. “We believe in wearing them, testing them, developing them for as long as possible so we know we have done everything we can to ensure the pattern is as useful and beautiful for our customers as it possibly can be.” It’s something we can all adopt for our own projects, too. “Toile, toile and toile again,” Mrs M recommends. “I know it can be tedious. However, it will make the world of difference to your finished garment. It will give you the opportunity to really get to grips with the fit and the end result will be so worth it." She’s passionate about spreading the word on the many benefits of sewing your own. “One of the joys of making clothes is the chance it gives you to get to know your own body and the independence that fosters, knowing you can be in charge of how you look. Hence why we are called Maven, which means expert in a particular field. Everyone can be an expert in how they want to look and feel – we just have to take charge of it!” See more at www.mavenpatterns.co.uk
"Toile, toile and toile again. It will make the world of difference to your finished garment."
WELCOME TO WEAVING: THE MODERN GUIDE Lindsey Campbell (£21.99, Schiffer Publishing) Lindsey Campbell, the weaver behind popular blog Hello Hydrangea, has filled this book with 50 techniques and 20 stylish projects for weavers of all abilities. It takes you through the whole process, from making your own simple loom and the basic terms, to more advanced weaving projects to grow your skills. www.schifferbooks.com
GARDEN STITCH LIFE Kazuko Aoki (£16, Zakka Workshop) Nurture your stitching passion with this book of charming garden-themed designs by embroidery artist Kazuko Aoki. In addition to dozens of botanical motifs, there are also embroideries inspired by a few of Kazuko's favourite things – food, travel and design – with projects including samplers and table linens. www.zakkaworkshop.com
FREESPIRIT BLOCK PARTY Freespirit Fabrics (£23.99, Stash Books) What happens when 20 of your favourite designers are challenged to create a modern twist on classic blocks? A must-have book filled with stunning contemporary patchwork designs, that's what! With 40 mix-and-match quilt blocks from 20 designers working with their own fabrics, the book features paper-pieced, appliqué and patchwork blocks for you to get creative with. www.ctpub.com
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Pinboard AFINEFINISH It’s so satisfying W
when the inside of our project is as beautifully finished as the outside, so we keep our habby stash stocked with pretty bias bindings for professional rawedge finishes – and Atelier Brunette’s are about as pretty as they come! Available in a variety of prints from the main fabric range, they’re just the thing for finishing off necklines, armholes, hems, or even the seams on a special garment – like this issue’s Eloise Set pattern on page 30! 50p per half-metre, available at www. drapersdaughter.com
UniQue you The best thing about sewing? Creating one-off garments we know no one else in the world will have, of course! So I AM Patterns has chosen a rather apt title for its new collection: I Am Unique. Included are three designs to make your own – the Luna blouse with a cute button-up back detail, the versatile Gaia cami, and the feminine tiered Magdala top and boho dress. £15 each from www.backstitch.co.uk
3 of the best CHECK MATE Heritage tweeds might be a trend right now, but you'll keep this timeless print for years. 1. This classic wool coat is work-ready, but will smarten up a jeans-and-a-jumper combo at the weekend, too. £99, www.marksandspencer.com 2. Not ready to wear head-to-toe tweed? Tip your hat to the trend (literally!) with a stylish trilby by Becksondergaard. £27, www.printerandtailor.com 3. Give your home a country-house vibe with this cosy pure wool throw blanket in a fishbone check design – it's one of a selection from the National Trust made in the UK by Tweedmill, based in Flint. £35 from shop.nationaltrust.org.uk
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MAKEASTATEMENT Proudly wear your hobby on your tee, sweatshirt or tote with this collection of craft-themed clothing by SewandSo. Featuring sassy slogans such as ‘Stitch goddess’, ‘Eat sleep stitch repeat’ and ‘I stitch therefore I am’ all printed onto certified organic cotton tees, bags and cosy sweatshirts and hoodies, we want to collect the lot! What better thing to wear while we sew? They’d be a fab gift for anyone who loves stitching (hint, hint). From £35, www.sewandso.com
Pinboard Dark blooms Step over to the dark side with moody floral fabrics for statement winter makes.
PATTERN PLAYTIME Oh, how we love a pattern that we can make again and again, and again, and again! Eloise is a deceptively simple number with infinite variations – make it as a swishy frilled maxi, a cocktail frock, add statement bell sleeves, or no sleeves. And, with no zip fastening, you’ll have your chosen combo sewn in no time! PDF £9.50, www.byhandlondon.com
BOHO BLOSSOMS Bright-hued blossoms really stand out on this beautiful black cotton lawn. £8 per half metre from www.sewoverit.co.uk GARDEN PARTY Stroll through a herb garden with this charming Rifle Paper Co botantical print, on canvas or quilting cotton. www.cottonand steelfabrics.com
out & about
coUture kits Former Liberty of London and Emilio Pucci designer Louise Scott-Smith is taking an inventive approach to getting us all creating special pieces for our wardrobes with her fashion-forward, cut-and-sew A Printed Wardrobe kits. They feature dresses, tops and skirts pre-printed onto fabric ready for you to sew, in quirky trompe l’oeil prints with trims, braids and even printed stitching; just cut them out and stitch, adjusting for the perfect fit as you go. Simple! Kits £95 from www.aprintedwardrobe.com
SKILLS, SHOWS & EVENTS 22-25 NOVEMBER The Knitting & Stitching Show. Harrogate International Centre. Stock up on supplies and learn new skills at this inspiring show. www.theknittingandstitchingshow.com
EXOTIC FLIGHT Paradise birds flit from branch to blooms on this silky polyester satin, perfect for party frocks. £6.49 per half metre, www. sewingquarter.com
25-26 NOVEMBER
BUSY AND BOLD There's a lot going on in this detailed floral – and we love it! Available in knit or cotton, from the Silkroad Fusion range at www.art galleryfabrics.com
Crafted. Castle Ward. Soak up the festive atmosphere at a Christmas craft fair at Castle Ward, an 18th-Century Georgian mansion and stableyard. www.nationaltrust.org.uk
1 DECEMBER Crafty Fox Market. Mercato Metropolitano, London. Get your Christmas shopping sorted with handmade gifts for all the family (and maybe a few for you, too!) at this monthly market. www.craftyfoxmarket.co.uk
UNTIL 12 MAY 2019 Remember paper dolls? Now we have our own version with these cut-and-sew kits!
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Anni Albers. Tate Modern, London. Discover textile artist Anni Albers with this major retrospective of her thought-provoking woven artwork. www.tate.org.uk
LITTLE LEAVES This ditsy smallscale print packs a big punch with its autumnal purple, red and green hues. From the Kimono collection at www. makoweruk.com
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comp titions
creations at korbond TOTES Your chance to win a set of 5 gorgeous storage bags, totes and boxes from Creations at Korbond, worth over £80!
E T E L P M O C h t r o w SET £80 over
Groves sewing machine bag
he Creations at Korbond range of craft storage designs are so stylish, you’d be forgiven for thinking they were from a designer interiors store! From structured wool felt storage bags with rustic wooden handles, to portable knitting needle wraps and vintage-style wooden sewing boxes, there’s something for every creative hobby. One lucky reader will win a complete set comprising of the following: Felt Craft Bag, Textured Inlay Square Sewing Box, Round Sewing Box, Crafters Mini Carry Away and Kitting Wrap. Even if you don’t make use of all these gorgeous designs to store your sewing stash − imagine what wonderful gifts they’d make for your creative pals. That’s your Christmas gifts sorted! To be in with a chance of winning the whole set enter today at www.simply sewingmag.com, or view the full storage range at www.dunelm.com/search/creations+korbond
total prize v alue worth £120!
Enter to win a machine bag, fabric and essential pinking shears from Groves. eeping your sewing machine clean and dust-free is a must for ensuring it performs at its very best! This sewing machine bag, with its exclusive-to-Groves hexagon print, is just the thing! Plus, you’ll delight at being able to carry your machine to friends houses, shows and workshops without having to worry about screatching it. As well as this must-have bag, one lucky winner will also win four Christmas themed fat quarter fabric packs, and a pair of essential pinking shears. Enter today at www.simplysewingmag.com, or to find your nearest stockist email groves@stockistenquiries.co.uk
See www.simplysewingmag.com to enter both today! (UK only, see competition rules on p6.) 14 WWW.SIMPLYSEWINGMAG.COM
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christmas kitchen
home for Christmas Make a coordinated kitchen set in whimsical winter prints (and then get started on the mince pies!). Designers: JESSICA ENTWISTLE Styling: LISA JONES Photography: PHILIP SOWELS & DAVE CAUDERY
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SloGan BanNer At this time of year, we don't need much of an excuse to cosy up at home, but it's nice to have a reminder! This fun slogan banner is great for using up precious fabric scraps (not to mention honing your appliqué skills!) and can be adapted to feature any seasonal message you like.
tea TowEls If your New Year's resolution is to start sewing – or to teach someone else – why not begin now with simple tea towels? They're ideal for practicing pressing and hemming, and are quick to make for last-minute gifts, too. Plus, there's so many options for customising them, from stitching embroidered motifs to adding contrast borders.
christmas kitchen
Oven GloVes The holiday season is all about two things: festivities and food. So serve up the latter in style with me-made oven mitts, with a layer of insulated wadding to protect your own mitts – and then let the festivities begin!
tea Cosy You never know when family and friends might pop round for a cuppa, and you'll always be ready for a big tea round with this cute cosy! It's made with insulated wadding to keep your tea piping hot for longer, which means less time running in and out of the kitchen, and more time to beat your top score at charades‌
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christmas kitchen
pot HolDer Is there anything quite as pleasing to the eye as EPP in your fave prints (well, apart from the sight of a justopened box of choccies, anyway)? If you're new to EPP, or English Paper Piecing, this hexie holder is the perfect place to start – preferrably in front of a movie marathon.
Half AprOn Proving functional doesn't have to mean boring, this vintage-inspired apron is just the thing for protecting our me-mades from spillages, and has the sweetest frill detail you ever did see. Plus, there's a little patch pocket for stashing snacks – it's the cook's prerogative, right?
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Christmas kitchen 01
02
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apron YOU WILL NEED Q Main fabric: 112cmx1m (44inx11⁄8yd), for apron front, waistband and ties Q Lining fabric: 112cmx1m (44inx11⁄8yd), for lining, frill and pocket trim Q Erasable fabric marker Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from Snow Day by Lewis & Irene. Snow Day, Cream. Ref: C34.1. Sleigh Ride, White. Ref: C37.1. For stockists visit www.lewisandirene.com NOTE Q Use a 1cm (3⁄8in) seam allowance unless otherwise stated.
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CUTTING OUT Step one From the main fabric cut: Apron front: Cut one 50x72cm (19¾x283⁄8in). Pocket: Cut two 14x14cm (5½x5½in). Waist tie front: Cut one 14x52cm (5½x20½in). Waist tie sides: Cut two 14x90cm (5½x35½in). Step two From the lining fabric cut: Apron lining: Cut one 50x72cm (19¾x283⁄8in). Pocket binding: Cut one 5x14cm (2x5½in). Frill: Cut three 14x115cm (5½x45in).
MAKING THE APRON FRONT AND POCKET Step one Use a mixing bowl or dinner plate to draw a curve along the bottom left and right corners of the main fabric front apron piece. Cut off the excess fabric outside of the curve. Step two Fold the front apron in half lengthways with wrong sides (WS) together, so that the fold runs from top to bottom. Using an erasable fabric marker, mark the middle point of the folded edge along the bottom of the fabric. Then measure from the middle point along the bottom, around the curve and up to the top edge of the fabric. Ours measures 82cm (323⁄8in). Divide this measurement by three. Working outwards from the centre fold, measure 1⁄3 and 2⁄3 – approx 27cm (105⁄8in) and 54cm (21¼in) respectively in our case. Step three Along the top edge of the apron, mark the folded central point, and then measure 18cm
(71⁄8in) out from the fold and make another mark. Step four Repeat these steps for the corresponding lining fabric piece. 01 Step five Take the main fabric pocket pieces, place them right sides (RS) together and pin in place. Use a cup to mark the lower corners for a curved pocket. Sew together along the marked line, trim off the excess fabric and turn RS out through the top opening. Press. Step six Place the pocket binding centrally on top of the pocket with RS together, aligning the raw edges, and pin in place. Step seven Sew together and then press the strip upwards and press the short edges into the WS by 1cm (3⁄8in). Fold the fabric strip over the pocket edge, tucking the long raw edge of the strip under by 1cm (3⁄8in). Press and then topstitch in place. 02 Step eight Work out where you would like the pocket to sit, then pin and sew it to the apron front piece. 03
ADDING THE FRILL Step one Take the three lining fabric frill pieces and sew them RS together along the short edges to create a strip approx 330cm (130in) long. Press the seams open. Step two Now fold the frill WS together lengthways and press. Mark the middle point on the strip. Then mark 1⁄3 away, and then 2⁄3 away
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from that point on each side. Step three Using the longest stitch on your machine and leaving long tails of thread, sew two lines of gathering stitches within the 1cm (3â „8in) seam allowance along the raw edges of the frill strip. It is easier to start sewing from the middle point out to one edge then sew another two rows of stitches from the middle out to the other long edge (so you gather one half at a time). Step four Tie off the threads from the middle then pull the two bobbin threads from one edge, slowly gathering the frill strip. Use the marked points on the bottom of the apron front as a reference so the frill marked points line up. Leave the ends of the frill trim ungathered so they are smoother when attached to the waistband. 04 Step five Once both sides are gathered, sew a line of stay stitching along the frill edge to hold. Step six Pin the frill to the apron front, matching the marked points and using lots of pins. 05 Step seven Staystitch the frill in place. Press and then pin the apron front and lining RS together, matching marked points. 06 Step eight Sew together and then turn RS out through the apron top. Press.
MAKING THE WAISTBAND Step one Sew the two waist tie side strips to the waist tie front strip RS together along the short
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edges to create the waist tie. Fold it in half lengthways with RS together and press. Step two Sew the strip together from each seam out to the edges, sewing the ends into a point. The central section should remain unsewn. Step three Clip the corners, turn RS out and press. Step four Turn the long raw edges of the middle waistband section in to the WS by 1cm (3â „8in) and press. Mark the middle point of the waistband to make it easier to join to the apron. 07
ADDING THE WAISTBAND Step one Sew two lines of gathering stitches within the seam allowance along the top of the apron (not including the frill). Gather the threads as before so that the apron top sits within the waistband with marks matching. Staystitch the gathers as before. Step two Open up the folded edge of the front of the waistband and pin it RS together to the apron front, matching the middle points. 08 Step three Sew together along the crease of the fold, sewing until you reach the centre of the frill at either end. Step four Press the waistband up over the raw apron edges then sandwich the apron between the waistband. Step five Pin and then either topstitch or hand-stitch the waistband closed.
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banner YOU WILL NEED Q Fabric A: 35x65cm (14x26in), for the front, back and casing Q Fabric B: 8x115cm (3x45in), for the binding and appliqué Q Wadding: 23x32cm (9x13in) Q Dowel pole: two lengths of 12mm (½in) wide x 30cm (12in) Q Bondaweb: 14x16cm (6x7in) Q Paper, for the template Q Stranded cotton in dark grey Q Erasable fabric marker Q Basic sewing kit
CUTTING OUT Step one From Fabric A cut: Banner front and back: Cut two 32x23cm (125⁄8x9¼in). Dowel casing: Cut two 14x17cm (5½x6¾in). Step two From Fabric B cut: Binding: Cut two strips 4x80cm (15⁄8x31½in). Step three Join the binding strips together to make a strip 160cm (63in) long. Step four Press Bondaweb onto the wrong side (WS) of the remaining Fabric B. Step five Make a mirror image of the template on pattern paper. Place Bondaweb onto the mirror image and trace the letters. Cut out the shapes.
ADDING THE APPLIQUÉ FABRICS USED The fabrics used are from Snow Day by Lewis & Irene. Sleigh Ride on White C37.1. Scattered Snowmen on Grey C35.2. For stockists visit www. lewisandirene.com NOTES Q Use a 1cm (3⁄8in) seam allowance. Q You may need more of Fabric A to embroider with a hoop. Q Download the templates from www. simplysewingmag.com/downloads
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Step one Transfer the template onto the banner front piece using an erasable fabric marker. Peel off the backing paper from your Bondawebbed fabric and press the letters onto the fabric. Redraw any embroidery lines necessary. Step two Topstitch around the appliqué edges. 01 Step three Embroider ‘stay’ in chain stitch using three strands of grey stranded cotton. 02
ADDING THE DOWEL CASING Step one Fold the short edges of the dowel casing pieces to the WS by 1cm (3⁄8in). Press and then sew in place. Fold in half again lengthways and press.
Step two Pin each casing strip centrally to both the top and bottom edges of the banner back piece, aligning all raw edges. Staystitch in place. 03
ASSEMBLING THE BANNER Step one Lay the banner WS up, place the wadding piece on top, then the appliqué front right side (RS) up on top to create a sandwich. Staystitch around the outside edge. Step two Sew the binding strip to the banner RS together along the bottom edge. Begin sewing 10cm (4in) in from the end of the binding. Stop 1cm (3⁄8in) from the first corner and backstitch, then remove from the machine. Step three Fold the binding up at an angle where the stitching ends. Fold the binding back down the next side. Start sewing from the top edge, sew over the folded corner and down the next side. Step four Repeat until you reach the start of the sewn-on binding. Stop sewing 10cm (4in) from the end of the binding. Mark the point where the binding strips meet with an erasable fabric marker and then sew the strips together, using the marks as a guide. Trim away the excess binding and finger press the seam open. Sew the remaining binding onto the banner. Step five Press the binding strip to the back. Tuck the raw edge under by 1cm (3⁄8in) and topstitch or slip stitch it by hand to the back. 04
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pot holder YOU WILL NEED Q Main fabric: six fabrics, approx 24x6cm (9½x2½in) of each, for the front Q Backing fabric: 25x25cm (10x10in) Q Insul-Bright: 25x25cm (10x10in) Q Cotton wadding: 25x25cm (10x10in) Q Paper for the template Q Fabric glue stick Q Erasable pen Q Basic sewing kit FABRICS USED The fabrics used are from Snow Day by Lewis & Irene. For stockists visit www.lewisandirene.com NOTES Q Download the templates from www. simplysewingmag.com/downloads Q Our pot holder front is created by English Paper Piecing (EPP). Q Insul-Bright is an insulated lining used to protect your table and hands from heat. It is recommended to use cotton wadding as well as InsulBright as it absorbs condensation.
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CUTTING OUT
ASSEMBLING THE POT HOLDER
Step one Trace two templates – one large outer hexagon, then another hexagon with all paper markings. On the second template cut out all the individual sections along the drawn lines. Step two From the cotton wadding, cut one slightly smaller than the large hexagon template. Step three From the Insul-Bright, cut one slightly smaller than the large hexagon template. Step four From the backing fabric, cut one using the first hexagon template, cutting 5mm (¼in) outside of the template line.
Step one Remove the paper backing from the EPP and then press. Step two Place the pieced front WS up on your work surface. Place the Insul-Bright shiny side down on top, the cotton wadding on top, then finally the backing fabric right side (RS) down to create a sandwich. 03 Step three Tack together and then whipstitch all the way around the outer edge.
PIECING THE HEXAGON FRONT Step one Work out your desired fabric placement for the hexagon front. Place each individual EPP paper piece onto the wrong side (WS) of each fabric piece and trim the fabric to 5mm (¼in) outside the paper edge. Tack the fabric over the paper edge either by tacking it or using a glue stick as we have. 01 Step two Hand-sew the pieces together using a whipstitch. Start by sewing one of the small trapezoids to the central hexagon. Only sew through the fabric and not the paper. 02 Step three Sew all pieces together then press. Step four Create a large EPP piece using the first hexagon template and the backing piece. Press.
FINISHING OFF Step one Topstitch all the way around 5mm (¼in) from the outer edge. Step two Quilt in your preferred design, then remove the tacking threads to finish. 04
TIP: give your
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oven gloves YOU WILL NEED Q Fabric A: 100x35cm (40x14in), for the outer Q Fabric B: 100x50cm (40x20in), for the lining, edging and binding Q Insul-Bright: 100x35cm (40x14in) Q Cotton wadding: 100x35cm (40x14in) Q Paper, for the template Q Erasable pen Q Basic sewing kit FABRICS USED The fabrics used are from Snow Day by Lewis & Irene. For stockists visit www.lewisandirene.com NOTES Q If you are fussy cutting your fabric you may need more. Q Use a 1cm (3⁄8in) seam allowance. Q A walking foot can be used to quilt through multiple layers. Q Download the templates from www.simplysewingmag.com/ downloads
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CUTTING OUT Step one From Fabric A cut: Mitt outer: Cut one 100x16cm (393⁄8x63⁄8in), then use the glove template to cut curved ends for both short edges. Gloves: Cut two using the template. Step two From Fabric B cut: Mitt lining: Cut one 100x16cm (393⁄8x63⁄8in), then use the glove template to cut curved corners on the short edges. Gloves: Cut two using the template. Glove edge binding: Cut two 4.5x16cm (17⁄8x63⁄8in), and then cut enough 4.5cm (17⁄8in) strips to create a binding strip 250cm (99in) long. Join the strips along the short edges. Step three From the Insul-Bright cut: Mitt: Cut one 100x16cm, then use the glove template to cut curved corners on the short edges. Gloves: Cut two using the template. Step four From the wadding cut: Mitt: Cut one 100x16cm, then use the glove template to cut curved corners on the short edges. Gloves: Cut two gloves using the template.
MAKING THE MITTS Step one Take a Fabric B glove lining piece and place it wrong side (WS) up. Put a glove wadding
piece on top, then a glove Insul-Bright piece shiny-side up on top of that, and finally a Fabric A glove front right side (RS) up on top. 01 Step two Draw vertical lines along the glove front using an erasable fabric marker – our lines are 2.5cm (1in) apart. Pin the fabric sandwich together then sew along the drawn lines with a longer stitch length. 02 Step three Staystitch all the way around. Repeat for the second glove. Step four Take one of the glove edge binding strips and pin it RS down along the top straight edge of the quilted glove. Sew together with a 1cm (3⁄8in) seam allowance. 03 Step five Press the strip over to the back, folding it over the mitt edge, tucking the strip raw edge under by 1cm (3⁄8in). Press and then topstitch. Step six Repeat to make the second glove.
ASSEMBLING THE OVEN GLOVES Step one Repeat the above steps to create and quilt the long mitt main body sandwich. Step two Take one of the gloves and place it RS up on top of the main body lining. Staystitch in place. Repeat for the second glove. Step three Take the long binding strip and attach it all the way around the oven gloves. You may find it easier to use clips instead of pins when topstitching to finish. 04
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tea cosy YOU WILL NEED Q Outer fabric: 50x36cm (20x15in), for the main body Q Contrast fabric: 70x36cm (28x15in), for the lining, band and hanging loop Q Insul-Bright: 60x36cm (24x15in) Q Cotton wadding: 60x36cm (24x15in) Q Paper, for the template Q Erasable pen Q Basic sewing kit FABRICS USED The fabrics used are from Snow Day by Lewis & Irene. Snow Day Houses, Icy Blue. Ref: C36.2. Snow Fall, Icy Blue. Ref: C38.1. For stockists visit www. lewisandirene.com NOTES Q Download the template 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 the outer fabric cut: Main body: Trace a copy of the main template and cut 5cm (2in) off the lower edge and set this cut-off piece aside. Add a 1cm (3⁄8in) seam allowance to the bottom long edge of the tea cosy template and then cut out two main body pieces using this new template. Step two From the contrast fabric cut: Lining: Cut two using the main template. Hanging loop: Cut one strip 6x12cm (23⁄8x4¾in). Band: Add a 1cm (3⁄8in) seam allowance to the top long edge of the strip cut you away from the traced main template in the previous step. Use this template to cut out two pieces. Step three From the wadding cut: Wadding: Cut two using the main template. Step four From the Insul-Bright: Insul-Bright: Cut two using the main template.
Step three Pin then staystitch all the way around. Step four Stitch in the ditch where the band joins the main body. Repeat for the other outer pieces.
MAKING THE HANGING LOOP Step one Fold the hanging loop strip in half lengthways wrong side (WS) together and press. Open out and then fold the raw long edges in to the middle crease. Press and then fold in half again to create a strip 1.5x12cm (5⁄8x4¾in). Topstitch along both long sides. Step two Fold this into a loop and staystitch it to the curved top of one of the main body pieces. 02
MAKING YOUR LINING Step one Pin the two lining pieces RS together. Step two Mark a turning gap along one side, then sew together all the way along the curved edge, not including turning gap. 03
MAKING THE COSY OUTER
ASSEMBLING THE TEA COSY
Step one Take one outer fabric piece and pin the corresponding contrast band to the long edge. Sew then press the seam open. Repeat for the second main body and outer band pieces. Step two Place the Insul-Bright shiny side down, with a wadding piece on top, and then one of the assembled main body pieces on top of that with the right side (RS) up. 01
Step one Turn the cosy outer RS out and place it inside the cosy lining so the RS are facing and the bottom edges line up. Pin or clip together. 04 Step two Sew together along the bottom edge. Step three Turn RS out through the turning gap. Press the cosy so that the bottom edge seam is nice and flush and then slip stitch the turning gap in the lining closed to finish.
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PSST: fabric and
fo r f a e l r be e v d o n a n , r u n T iratio p s n i g ished n fi stylin r u o a re y h s o ged t g e a t s sur u with t e S e s i mag Elo g n i w e s #simply
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CovEr
WHILE STOCKS LAST
the eloise set Update your outerwear collection with The Eloise Set in UK sizes 6-20, a simple unlined design with a button fastening that can be made as a coat or pinafore dress.
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th ois s t Along with making jeans, inserting invisible zips and working with slippery fabrics, coat-making is one of those scary sewing techniques that actually isn't all that scary when you try it! And that's especially true of this issue's cover star, The Eloise Set – this simple unlined style is the perfect first coat project, or a speedy sew for an experienced stitcher. You'll master working with coating fabrics, adding buttonholes and buttons, inserting sleeves and attaching facings for a neat finish. Plus, the pattern also includes the option to make an easy-wear sleeveless pinafore dress, too. So, here's to tackling those not-so-scary sewing techniques, boosting our dressmaking skills – and stitching a beautiful new coat for our everyday wardrobe!
YOU WILL NEED Q Main fabric: Dress A: 115cm (45in) width x 4m (4½yd) for all sizes Dress B: 115cm (45in) width x 3.7m (4yd) for all
SIMPLE SEW Is unlined for a beginner-friendly coat project.
TIMELESS DESIGN A classic style with a doublebreasted buttonup fastening.
sizes Q Interfacing: (see pattern envelope notes) 90cm width x 110cm for all sizes Q Buttons: 25mm (1in) x 10 Q Large press studs: 10 (optional) Q Small button: 10-15mm (3⁄8-5⁄8in) Q Basic sewing kit
FABRIC SUGGESTIONS Light to medium-weight suiting or wool. GETTING STARTED As this is an unlined design, keep in mind when you are choosing fabric for this project that it will be sitting against the skin. And, as coatings and suitings can be a little more expensive, it's advisable to make a toile before you start to test the style and fit. Psst! For more coat-making tips from the pros, turn to our feature on page 44.
Make a sal coat r ng-sleeve a sle pinafr eveless e dress.
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TWO STYLES Can be made as unlined coat or pinafore dress.
wear it with
Sew a modern update on a tweed jacket in pink and raspberry shades, www.backstitch.co.uk
Black Wool Mix, www.sewingquarter.com
More Is morE Pile on the (stylish) layers with jumbo knits and soft faux fur. Try a colurful take n the check trend ith pink tartan, £15, www. drothyperkins.com
Boiled Wool Forest, www.backstitch.co.uk
Top off your look with a retro baker boy hat in goes-with-everything grey, £14, www.next.co.uk
Dogtooth Check Suiting, www.minervacrafts.com
FABRIC INSPIRATION
cosy in colour
Who says outerwear has to be neutral? Play with texture, print and colour for a statement coat or pinafore dress.
Smarten up your style with drapey tailored trousers in blush, £32, www.next.co.uk
Mederia Mini Spot Tweed, www.sewingquarter.com
When it comes to beating the winter chill, faux fur is always a good idea! £22, www.dorothyperkins.com
Wool Mix Coffee Spot, www.backstitch.co.uk
Textured Wool Blend, www.minervacrafts.com
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You can never have too many chunky knits, so this faux fur collar number is coming home with us... £18, www.primark.com
Get the linen look (without the creases!) with this suiting, available in a rainbow of hues from www.minervacrafts.com
Dress up any utfit ith a pair of heeled shoe bots, £45 from www.wallis.co.uk
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MY SEWING WORLD By Laura Huhta Named co-founder Laura shares why winter is her favourite sewing season, from snuggly fabrics to quality coats. o be honest, I am a big fan of light and airy summer garments, the feeling of drapey fabrics against my skin and vivid floral prints. I also absolutely love to design summer clothing, especially all kinds of heavenly sun dresses. Every year I make big plans for my summer wardrobe, anxiously waiting for the warm and sunny days, seeing myself enjoying the season in my newly made garments! I absolutely love summer in all possible ways – I simply live for it. Despite all I just said, though, winter is still undisputedly my favourite time to sew. It is, of course, partly due to the weather – in the summer you are much more tempted to stay outside and enjoy outdoor activities and the long days with plenty of daylight (something that, I can tell you, is unfortunately quite rare in Helsinki, where I live). But in the winter when it’s cold outside – or even worse, wet and slushy like it tends to be in Helsinki – nothing is more cosy than to nest inside your sewing room, heat up a warm cup of tea or (decaf) coffee, and just sew away nice and easy, without any hurry or a need to be anywhere else. Probably for that same reason, winter also happens to be the time when I make an inventory of unfinished sewing projects and finally take the time to actually finish them.
Go to p36 for ap and see mor roject from Named's bo o e at www.na medclothing k, .com
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COSY CREATIVITY My enthusiasm towards winter sewing is also because of winter fabrics – while all the flowy and drapey summer fabrics are adorable and pretty, it is still a fact that they can be quite a task to sew. Which I don’t mind once in a while, but too much is too much! Meanwhile, winter fabrics are not only lovely to look at, but also a real pleasure to sew. Nothing beats the feeling of sewing soft or robust winter fabrics. I feel blessed to live up north so I actually need a lot of warm attire and have a great excuse to use them. Which brings us to my absolute favourite type of garment to make: a coat! Some consider coats a definite no-no, but I dare to argue that these people might not have tried to sew one. It is true that coats can be quite laborious to make, with an interfacing, lining and buttons and all, which might seem intimidating. But despite them taking quite a bit of time to sew, they are one of the most
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"Winter fabrics are lovely to look at and a real pleasure to sew."
e with b o r d r a w y m g I' ll be fillin the cold. r fo y d a e r s e d a cosy me-m
Gaia Coat Photo: Arto Markkanen
e "Many coat fabrics ar actually easy to sew, as they are usually stable."
Coat-making is satisfying, not intimidating! Boost your skills with the Gaia Coat's unusual panels and classic tailoring.
rewarding makes you could imagine, and, surprisingly, ones that I think are quite easy to succeed in! After you have taught yourself how the coat lining process works, you will know how to do that over and over again. Many coat fabrics are actually easy to sew, as they are usually stable, but at the same time soft and easy to maneuver. The pieces are steady and simple to cut, and to match and ease into other pieces. They are much less likely to develop creases. You can even shape them with steam, and create seams and shapes that look sharp and clean, or soft and smooth. Also, it is just heavenly to see all the raw edges, seam allowances and wrong sides of the fabric enclosed inside the lining and out of sight! Since you will be sewing something that takes quite a while to make, and that you will want to wear for years, choose fabric of good quality! Luxurious coatings can definitely cost quite a bit, but you should definitely think of it as an investment. Usually, lining fabric is the first thing to wear out in any coat, so it is wise to choose this well, too. I would not suggest using silk as a lining, as it is very sensitive to bacteria, and worn closest to skin it will perish easily. However, you will want something that is smooth so that the coat is easy to put on and take off, so a satin fabric with a silky feel is a good choice. If you find coat-making very intimidating, one good tip is to sew with a friend. Maybe you know someone that has already made a coat and can teach and support you, or even someone that is equally lost so you can help each other (and commiserate when it is time to introduce the seam ripper to your coat!). The making process goes much faster with two or more pairs of hands, and, like many things in life, sewing is more fun in good company!
Keeping me inspired...
I'm a fabric hoarder, so wil l be using up my stash (for now !).
At the moment I'm ďŹ nding ur very own fabric stash super inspiring! We tend o roam arund fabric shops a lot, and when we see something fabulus, we just have o buy it fr ur stash - fr posible future use! I think the majrity of fellow fabric hoarders and seamstreses can deďŹ nitely relate o that. Unfrtunately, the Named stash is groing a bit to big fr its cabinet, so we have decided o stop buying new fabrics (fr now!) and use whatever we have in ur stash instead.
My fabric-shopping ban has made me think of fabrics from a more creative perspective.
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THE SADE BLOUSE Add a touch of Scandi simplicity to your everyday wardrobe with Named's Sade Blouse, a loaty top with chic tie details.
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YOU WILL NEED
CUTTING OUT
Q Main fabric: For sizes 1 and 2: 115cmx2m (45inx2¼yds) For sizes 3, 4, 5, 6, 7 and 8: 115cmx2.5m (45inx2¾yds) For size 9: 115cmx2.75m (45inx3yds) Q Tape interfacing: 1cm (3⁄8in) wide x 4m (4½yds) Q Bias tape: 4cm (1in) wide x 70cm (27in) Q Narrow ribbon or cord: 3-3.5m (3-4yds), for the ties Q Quilting ruler and rotary cutter (optional), for making bias binding Q Basic sewing kit
Step one From the main fabric cut: Bodice front (A): one on the fold. Bodice back (B): one pair. Sleeve front (C): one pair. Sleeve back (D): one pair.
together at the neckline and the shoulder seams as shown, with the left back piece on top. 03 Step six Pin and sew the front and assembled back bodice RS together at the shoulder seams. 04 Step seven Finish the seam allowances of both pieces together and press them towards the front.
MAKING BIAS BINDING
BINDING THE NECKLINE
Step one Cut a 4cm (1in) strip of fabric on the bias. If piecing shorter pieces together, sew the strips with diagonal seams and narrow seam allowances. Step two Press in half lengthways wrong sides (WS) facing. Press the raw edges to the middle.
Step one Open the bias binding flat and press one short end to the WS by 1cm (3⁄8in). Place the folded end on the centre-back notch along the back neckline and pin the binding along the neckline, matching the raw edges. 05 Step two Pin the binding in place around the neckline, making sure not to stretch it too much. Pin the other short end of the binding slightly overlapping the folded end, then sew in place. 06 Step three Fold the unsewn raw edge of the binding to the centre of the binding strip, then fold the folded edge over to the inside. Pin the binding in place from the RS of the garment. 07 Step four From the RS, sew the binding in place by stitching along the inner edge of the binding (or stitch in the ditch if you prefer), catching the edge of the binding on the WS. 08
NOTE Use a 1cm (3⁄8in) seam allowance unless otherwise stated. SUGGESTED FABRICS Choose a lightweight fabric such as double gauze, cotton, silk or chiffon. Make sure that your fabric has drape – a stiff or too-heavy fabric will not work for this loose-fitting style.
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SEWING THE BODICE Step one Staystitch the front neckline approx 5mm (¼in) in from the raw edge. Step two Press tape interfacing along both of the back bodice centre-back edges, and then do the same for the sleeve vent edges. Step three Pin the dart in place with right sides (RS) together and then stitch together from the side seam, sewing a few stitches beyond the bust point. Tie off the threads with a few knots and then press the dart upwards. 01 Step four Press the centre-back edge of one of the bodice pieces to the WS by 1cm (3⁄8in), then turn the pressed edge over by another 1cm (3⁄8in). Pin and then stitch this in place. Repeat for the other back bodice piece. 02 Step five Machine-tack the back bodice pieces
INSERTING THE SLEEVES Step one Take one of the sleeve pieces and press the slanted vent edge to the WS by 1cm (3⁄8in). Turn the pressed edge over by another 1cm (3⁄8in). Pin and then stitch into place.
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Step two Repeat this to hem the slanted vent edge on all of the sleeve pieces. 09 Step three Tack a front and back sleeve together at the sleeve cap, matching the notches and with the back sleeve on top. Repeat with the other front and back sleeve pieces. 10 Step four Pin the sleeves to the armholes with RS together, matching notches, then sew in place. 11 Step five Finish both seam allowances together and press towards the bodice.
CUTTING LAYOUT
FINISHING OFF Step one Sew the side seams and the underarm seams as shown. Finish the seam allowances together and press towards the back. 12 Step two To hem the sleeves and the bottom of the blouse, press the edges to the WS by 1cm (3⁄8in), then another 2cm (¾in). Sew close to the edge to create channels and then use a safety pin to guide cord or ribbon through each channel. Finish the ends with knots or narrow hems.
ALL SIZES 115CM (45IN) WIDTH FABRIC
SIZE CHART FINISHED MEASUREMENTS SIZE
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9
UK
6
8
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12
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22
US
2
4
6
8
10
12
14
16
18
EUR
34
36
38
40
42
44
46
48
50
cm
94.5
98.5
102.5
106.5
110.5
114.5
118.5
124.5
130.5
in
37
38
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42
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45
46
49
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cm
96.5
100.5
104.5
108.5
112.5
116.5
120.5
126.5
132.5
in
38
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46
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49
52
cm
51
51.5
51.5
52
52
52.5
52.5
53
53
in
20
20
20
20
20
20
20
21
21
cm
59.5
59.5
60
60
60
60
60
60
60
in
23
23
23
23
23
23
23
23
23
BUST
WAIST
LENGTH SLEEVE LENGTH
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The Sade Blouse is from Breaking the Pattern by Saara and Laura Huhta, founders of the Named pattern brand (£26, Quadrille). Photos by Arto Markkanen. See more at www.hardiegrant.com
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refashion
pleated pretty Elisalex de Castro Peake takes a tee from slouchy to slinky with a pastel pleated skirt update.
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refashion 01
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YOU WILL NEED
CUTTING THE T-SHIRT
Q A loose-fitting T-shirt Q Pre-pleated fabric: 1-2m (11⁄8-2¼yd) Q Lining fabric: 1-2m (11⁄8-2¼yd) Q A length of elastic long enough to encircle your waist Q Basic sewing kit
Step one When gathering supplies for this project it is advisable to check the fabric content of your T-shirt and fabric. Synthetic fabrics melt and burn easily under the heat of an iron, and you will need to preserve pleats in the fabric which pressing could remove. Step two Fold the T-shirt in half lengthways. Measure down approx 45cm (18in) from the shoulder seam and mark this point. 01 Step three Try the T-shirt on before cutting to make sure that it’s the correct length for you, then add an extra 3.5cm (13⁄8in) to the marked point for seam allowance – this large seam allowance will ensure the T-shirt portion of the dress maintains a slight overhang so that the waistline seam is not visible when complete. Mark the new line across the T-shirt. Step four Cut across the drawn line and discard the bottom half of the T-shirt. 02
CUTTING THE SKIRT Step one Take your hip measurement and add 10cm (4in) – you can add more if you would like a fuller skirt. This will allow for wearing ease and seam allowance. Step two Cut a rectangle of the pleated fabric that is your new hip measurement across, and however long you would like your skirt to be in length, plus 1.5cm (5⁄8in) seam allowance at the waistline. Remember that the pleats will need
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to run down the length of the skirt. 03 Step three Cut a rectangle of lining fabric in the same way as for the pleated fabric.
MAKING THE SKIRT Step one With right sides (RS) together, pin up the side seam of the skirt. 04 Step two Sew along the pinned edge. Our fabric does not fray so we have not finished the seam on the inside. You could neaten the excess seam allowance on an overlocker or with a zigzag stitch if you wish.
MAKING THE LINING Step one Sew the side seam of the lining with RS together and press the seam open. 05 Step two Press the bottom edge of the skirt lining to the wrong side (WS) by 5mm (¼in) and then again by 1cm (3⁄8in), and pin to secure. 06 Step three Topstitch the lining hem into place. Hemming the lining but not the pleated outer skirt will result in the skirt’s lining being a little shorter than the pleated skirt so the lining won’t be visible when worn. 07
ASSEMBLING THE SKIRT Step one With WS together, pin the pleated skirt to the lining along the waistline. Align the skirt and lining so the side seams are on opposite sides, which will prevent an imbalance of bulk all on one side. Tack or pin along the waistline
refashion 04
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to keep the two skirt layers in place. 08 Step two With the RS facing, pin the T-shirt to the pleated skirt at the waistline, matching side seams. Start by pinning the T-shirt to the skirt at the side seams, then at the centre front and centre back. The skirt will most likely be wider than the T-shirt raw edge, so gently stretch the T-shirt as you pin to fit the wider waistline of the skirt. Make sure the T-shirt is stretched evenly all the way around. 09 Step three Stitch the three layers together with a 1.5cm (5â „8in) seam allowance. Finish the seam allowance with an overlocker or a zigzag stitch.
FINISHING OFF Step one Cut the elastic approx 2.5-5cm (1-2in) less than your waistline measurement, so that it fits comfortably and snugly around your waist. Step two Pin the two ends of the elastic to the waistline seam allowance at one side seam. Identify the halfway point of the elastic and pin this point to the opposite side seam. Find the halfway point of each half of the elastic and pin these to the centre front and centre back. 10 Step three Continue to divide the sections of elastic in half and pin those points to the corresponding halfway points of the waistline. This will ensure the stretch is evenly spread. 11 Step four Use a three-step zigzag stitch to sew the elastic to the waistline, stretching it between pins as you go. 12
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If your pleated skirt fabric is opaque, skip adding a lining for an even speedier make!
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UNDER COVER Get your winter sewing all wrapped up with coat-making tips and tricks from some of our favourite designers. Written by Sarah Gane.
The Stitch Sisters, aka Rachel and Nikki, encourage sewists of all skill levels to have a go at coat-making: "There are so many patterns, even for beginners, so don’t think it is something you have to work up to."
W
inter is coming and it’s time to bring out the trusty coats and jackets. But how many of us are truly happy with the high street outerwear we put on each year when the weather turns colder? Perhaps it’s the colour or poor-quality feel of the lining fabric, the not-quite-right length, the buttons that are in the wrong place, the slightly-too-small pockets, or simply a design detail that doesn't feel like 'us'. Despite how much we wear our coats, sometimes they're just not quite right. And it’s no surprise, really – it’s a lot of pressure to bestow on one garment. Coats are, by their very nature, often seen as investment pieces: we need them to serve many purposes while also fitting like a dream. A very tall order indeed. “A good coat is very hard to find,” confirm sewing teachers and bloggers, Rachel Derrick and Nikki Waterlow of The Stitch Sisters (www. thestitchsisters.co.uk). “You could find the style but not the fabric. Or you can find the fabric but not the quality. Or you might find the quality but not the right fit.” But there is another way. Colder weather brings an opportunity to showcase your sewing skills while creating a quality, longlasting garment that truly reflects your style and personality. “Coat fabrics can be very expensive, but investing in them and making
your own coat can often still be cheaper than buying a good ready-to-wear one,” says Saara Huhta, co-founder and designer at Named patterns (www.namedclothing.com). “Not to mention that you can achieve a much better fit and a design that's unique to you.”
Saara and Laura's Breaking the Pattern book includes the dreamy Halla Coat pattern – swoon!
WORTH THE EFFORT Coats are an everyday staple in autumn and winter, so your investment of materials and time will be well worth it, as writer and sewist Ebony Haight (www.heira.studio and www. instagram.com/ebonyh) tells us. “You can be fairly certain you’ll get regular use out of it. Plus a good coat or jacket can really pull a look together and make your outfit…” Yet, if the thought of working with thicker fabrics, slippery linings and fiddly fastenings is putting you off, you’re not alone. “It might come as a surprise, but I too was very scared of coat-making for a long time,” admits Named patterns co-founder and designer, Laura Huhta. “Once I taught myself the basic process, though, I fell in love with it.” “The thing we enjoy most about making our own coats and jackets is that we can create whatever design we want. The perfect colour, the perfect style and the perfect fit,” say Rachel and Nikki. Nevertheless, there’s no denying those lovely, snuggly textiles also
“we can create the design we want. The perfect colour, the perfect style and fit."
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Photo left: By Arto Markkanen, from Breaking the Pattern by Saara Huhta and Laura Huhta; Inset photo: www.namedclothing.com
Photo left: Will and Joan; Photos top right: www.thestitchsisters.co.uk
A GOOD R AD
Photo left: www.byhandlondon.com; Photos right: www.heira.studio
Blogger Ebony advises taking "pleasure in the process of working on something in stages.”
By Hand London's Elisalex loves creating coats that are "strong and sculptural, yet soft, warm and wearable.”
Brush up on your sewing skills with an online or a weekend workshop.
INTRO TO SEWING COATS, SEW OVER IT This class for making Sew Over It's Chloe Coat is aimed at sewists with dressmaking experience. It’s a classic design with simple details and an exquisite finish. It's available to do as an online class, or you can head down to the London-based studio. For class details visit www.sewoverit.co.uk
STITCH SISTERS COAT-MAKING COURSE The Stitch Sisters have designed their own pattern, complete with princess seams, a shawl collar and belt closure. Offering a gentle introduction to coat-making, the design includes new techniques but is simple enough to sew in one weekend. 26-27 January 2018 at Bristol Textile Quarter. See more at www. bristoltextilequarter.co.uk
SIMPLICITY SEWING, CREATIVEBUG Create a stunning, swooshy new coat using a Simplicity Pattern. You’ll learn how to work with bulky fabrics, sew princess seams, stitch a double collar, add a lining, and more – all from the comfort of your own home. For class and subscription information go to www.creativebug.com
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come with their own set of problems, they tell us: “Coats are generally quite large and the fabrics are heavy, so it can be a cumbersome and bulky thing to sew.” Elisalex de Castro Peake, co-founder of By Hand London (www. byhandlondon.com) agrees: “When you’re attaching the collar and sewing over seam intersections that can have up to eight layers of heavy coating fabric and you’re having to ease conflicting curves – so frustrating – it really helps to have a strong machine that can cope with that.” Despite this, though, the process itself also offers many positives and can be really enjoyable, as she explains: “I find coat fabrics extremely satisfying to work with. When all those seams are eased, pressed and topstitched, you are left with something strong and sculptural, yet soft, warm and wearable at the same time.”
you sew it up in something stiff and boxy, it won’t look how you wanted it to,” say Rachel and Nikki. Spend a little time researching, considering your favourite tones, what you like to wear the most and how you see this piece sitting alongside other existing coats you own. If you’re feeling brave, it could be a good opportunity to go bold with colour or patterns, bringing a little brightness to the dark and dreary days of winter. But if you’d prefer to keep it classic on the outside, the lining fabric can be a good place to inject a bit of fun, as well as keeping things tidy. “I love linings, as it encases all of the raw edges, creating a super-neat result,” says Laura. This is also a chance to experiment with colour, as she explains: “It’s fun to play around with the lining and choose a bright colour or print, even when the actual visible side of the coat is not so flashy.” Before you start your coat project, it’s worth taking the pressure off the end result a bit by taking the time to get to know the fabric. “If you’ve never worked with your chosen fabric
“It’s fun to play around with the lining and choose a bright colour or print."
CHOOSING MATERIALS When it comes to fabric, as you’d expect, it will need to work in harmony with your pattern. “If the style of the coat needs a drapey fabric and
A GOOD R AD Inspired to give coat-making a try? Try these patterns for all skill levels.
IAMMIMOSA Craft a comfy, cosy Mimosa coat, complete with a wide rolled-down collar and pockets. Beginner Go to www.iampatterns.fr
Ebony's recommendation: “An accessible pattern – you could make one out of just about any fabric.” Beginner Visit www.shopwiksten.com
For a coat that drapes beautifully, interfacing is your friend! “It’s the key to a coat that holds its shape," says Deer and Doe's Eléonore.
before, buy a little extra so you can play around with it,” advises Ebony. “Experiment with pressing it, figure out what finishing techniques you want to use, how it takes stitches and how your machine responds to it – especially several layers of it!” The basics are also the same as other dressmaking projects: “The grainline is important if you want your coat to hang well,” confirm Rachel and Nikki.
TOOLS AND TIME There are a few things you can add to your tools stash that will make the process a little easier. “Sharp cutting tools, a strong needle, and patience,” advises Ebony. “A good iron that gives off a reliable burst of steam will take your sewing – coats and otherwise – to the next level.” Using that, along with a pressing ham, will help you keep the shoulders nice and round. “A wooden clapper, to set on your seams as they cool from the steam, will also make it so much easier to get a professional, crisp finish.” Don’t skimp on pins and needles either: “Appropriate sewing machine needles for heavy fabrics (a whole pack of them) are essential,” says Elisalex. “Universal needles will break in half a second when you get to sewing all those layers of coating fabric! You’ll also need a pack of sharps for the lining fabric.” Deer and Doe founder and creative director Eléonore Klein (www.deer-and-doe.com) agrees, adding: “Not only do you need to adapt the size of your sewing needle to your fabric, but your pins as well.” When it comes to your sewing machine, “a walking foot can be useful for thicker fabrics,” say Rachel and Nikki.
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CASCADEDUFFLECOAT
“The extra grip will help when the heavy fabric wants to pull away from the machine. The bulky seams will need grading, so a pair of duckbill scissors can make quick work of that.” Deer and Doe's Eléonore advises that you strengthen the coat with interfacing. “That’s the key to a coat that holds its shape and drapes well, including the hems! Choose a good-quality interfacing in a weight that matches your fabric, and never skip this step.” Finally, “if you have a coat with collars or other sharp corners that need turning, a corner and edge sharper is handy tool,” adds Saara. Of course, time is another coat-making essential – and, if you're happy with the fit of your pattern and feel confident with working with your fabric, your dream coat could be just a weekend away. “Set aside a long weekend with plenty of snacks, music and podcasts, etc, to keep fuelling you along,” says Elisalex. “Get your cutting done on Friday evening, sew the lining first to get it out of the way, and finish hand-sewing on Sunday night over a welldeserved boxset binge.” Alternatively, try breaking it down into manageable chunks. “Acknowledge that this may not be a project you can bang out over the weekend," says Ebony. "And find pleasure in the process of working on something in stages.” Ultimately, though, “if there’s a secret to it, it’s that coats are not as challenging to make as they first appear." Rachel and Nikki agree: “There are so many patterns out there, even for beginners, so don’t think it is something you have to work up to – chances are you have already sewn something more difficult without realising it.”
Grainline Studio’s duffle has an interchangeable collar and hood, so you can customise the end result. Intermediate See www.grainlinestudio.com
GAIACOAT Laura says: "If you loathe setting in sleeves, this design has a nice, unique sleeve construction!” Advanced Visit www.namedclothing.com
BAMBOOCOAT A stunning coat by Waffle Patterns that’s particularly striking when made with a contrast lining. Advanced Find it at www.thefoldline.com
SAPPOROCOAT A bold jacket by Papercut with a dramatic cocoon silhouette and angled seaming. Super stylish. Intermediate Available at www.backstitch.co.uk
RUMANACOAT By Hand London’s Rumana style is a classic, elegant coat you'll wear for years. It’s fully lined, has welt pockets and two-piece sleeves. Advanced Find it at www.thefoldline.com
WWW.SIMPLYSEWINGMAG.COM 47
Gaia Coat Photo: Arto Markkanen
Photos: Will and Joan
WIKSTENKIMONO
W E! NE SU IS
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looking rosy Pick a small-scale posy print for Debbie von Grabler-Crozier’s petite cross-body satchel with contrast leather details.
mini Satch 01
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YOU WILL NEED
CUTTING OUT
Q Outer fabric: 40x115cm (16x45in) Q Lining fabric: 46x57cm (18x22in) Q Iron-on wadding: H630 46x57cm (18x22in) Q Iron-on Decovil I light interfacing: 46x57cm (18x22in) Q 2 screw button studs: 6mm (¼in) Q Tan leather or faux leather: 30x30cm (12x12in) Q Leather hole punch Q Clear drying glue Q Basic sewing kit
Step one Download, print and cut out the satchel templates. Step two From the outer fabric cut: Front outer: one using the template. Back outer: one using the template. Flap outer: one using the template. Gusset outer: 7x41cm (2¾x161⁄8in). Strap: 5.2x138cm (21⁄8x54in). Step three From the lining fabric cut: Front lining: one using the template. Back lining: one using the template. Flap lining: 20x20cm (77⁄8x77⁄8in). Gusset lining: 7x41cm (2¾x161⁄8in). Step four From the Decovil interfacing cut: Bag front interfacing: one using the template. Bag back interfacing: one using the template. Flap interfacing: one using the template. Step five From the iron-on wadding cut: Front outer wadding: one using the template. Back outer wadding: one using the template. Flap outer wadding: one using the template. Gusset wadding: 7x41cm (2¾x161⁄8in). Step six From the leather cut: Tab closures: one using the template. Button ovals: one using the template. Strap end: one using the template.
NOTES Q Download the templates from www.simplysewingmag.com/ downloads Q Use a 5mm (¼in) seam allowance unless otherwise stated. MATERIALS USED The main fabric used is Beatrice Light from The Denim Company. Visit www. thedenimcompany.co.uk Vlieseline from Lady Sew and Sew. Visit www.ladysewandsew.co.uk
MAKING THE TABS Step one Glue two tab closures together, suede sides facing. There are two marks on the tabs.
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Topstitch from one, around the bottom edge to the other. Do not topstitch the top angled part of the tab yet – this will prevent a double layer of stitching when the tab is attached to the flap. Step two Punch a central hole in the bottom rounded part of the tab, just large enough to admit the screw button head. 01 Step three Make a small slit about 5mm (¼in) long coming up from the hole. 02 Step four Attach the screw button studs to the button ovals following the manufacturer’s instructions.
MAKING THE STRAP Step one Fold the outer fabric strap piece in half lengthways and press. Unfold the strip, then fold the two raw edges into the centre crease and press again. If you need to join the strap fabric use a diagonal seam as it is not as noticeable as a straight seam. 03 Step two Bring the folded edges together, enclosing the raw edges, then topstitch along both long edges of the strap.
MAKING THE FRONT AND BACK Step one Press the iron-on wadding to the wrong side (WS) of the front outer piece then press the Decovil interfacing over the top. Step two On the right side (RS) of the outer fabric measure down 4cm (15⁄8in) from the top and 4cm (15⁄8in) in from the side and place
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a screw button oval with the screw button in on top. Topstitch around the oval to secure. Repeat for the other screw button oval. 04 Step three With RS together, pin the front lining to the front outer. Sew all the way around, leaving a turning gap. Notch the corner curves and clip across the square corners. 05 Step four Turn RS out through the gap. Neatly slip stitch the gap closed then press. Step five Make the back the same way as the front, omitting the screw button ovals.
wadding and then sew the interfaced outer and the lining RS together, leaving a turning gap along one edge. Turn RS out through the gap and neatly slip stitch the gap closed.
ASSEMBLING THE BAG Step one Pin or clip the front and the gusset together so that the edges meet. 07 Step two Topstitch around this edge to join the two pieces. Sew slowly using pins or clips to hold the pieces together as you sew. If pins and clips are not working for you, consider tacking
by hand to get everything to hold together. Repeat to attach the back to the gusset. Step three Use one of the strap end leather tabs to cover the raw edge of the strap and place it on the gusset 2.5cm (1in) down from the top of the gusset in the centre. 08 Step four Close the front tabs using the screw buttons, then sit the flat edge of the flap approx 3.5cm (13⁄8in) down from the top edge of the back piece. Adjust the flap positioning as necessary so that it closes neatly. Topstitch the flap in place approx 3mm (1⁄8in) from the edge.
MAKING THE FLAP Step one Press the iron-on wadding to the WS of the outer flap and then press the Decovil interfacing to the wadding. Step two Place the interfaced flap front onto the untrimmed lining with RS together. Pin and sew around the edge, leaving a turning gap at the back. Trim the lining to fit the flap front and notch the curves. Turn out through the gap and press. Topstitch around the sides and the front curve, lifting the tabs out of the way as you sew. Step three Take a tab closure and place it on the front of the flap 3.5cm (13⁄8in) in from the side and 12cm (4¾in) down from the flat end. Stitch it into place, starting from the position you stopped at before, around the top curve to the stitching start point. Repeat for the other tab. 06 Step four The gusset is made in the same way. Interface the outer on the WS with iron-on
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Use tacking or clips to hold the pieces securely in place for topstitching.
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22ND - 25TH MARCH 2019 3 nights from £599*
Based at Yarnfield Park, Stafordshire, this unique event gives you the chance to indulge in your favourite hobby, develop your skills, learn new ones and enjoy a few days in the company of like-minded people.
What’s Included? • • • •
4 half-day workshops of your choice with our experts 3 nights full board accommodation at Yarnfield Park £50 voucher to spend at sewandso.co.uk (to stock up on supplies for your workshops) Evening talks and entertainment
Workshops Across the weekend there will be choice of at least 48 workshop sessions (24 stitching and 24 knitting/crocheting). There’s lots to choose from including Redwork Sampler, Japanese Apple Blossom Designs, Jelly Roll Bargello Table Runner and Boro Inspirations to name a few!
Featuring four of the UK’s top stitching & quilting experts...
MANDY SHAW
PAT ARCHIBALD
KARIN HELLABY
JANICE GUNNER
PLUS POPULAR EXPERTS FROM THE KNITTING & CROCHET WORLD: • CAROL MELDRUM • SARAH HAZELL • EMMA LEITH • KATHLEEN ANDERSON
Visit www.stitchtopia.co.uk or call 01473 633 506 for more information *Find full payment details and options on the website. Please ensure you check this website for latest details on all events and holidays.
ABTA No.Y6426
UpcYcle QUICK PROJECT
jump to it Give two plain jumpers a Rudolph revamp with sparkles, stitching and a cute felted nose. Lana Red shows you how.
TRANSFORM IT! 01
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YOU WILL NEED
JOINING THE JUMPERS
Q 2 jumpers Q Black stranded cotton Q Sequin trim Q Embroidery hoop Q Merino wool Q Felting needle Q Felting mat Q Circle cookie cutter Q Basic sewing kit
Step one Take your two jumpers and decide which one will be the top and which one will be the bottom piece. Calculate where you would like the seam to be and then mark a line across the width of the jumper. 01 Step two Cut the jumper 1cm (3⁄8in) below the line and repeat for the other jumper to cut the bottom piece, this time cutting 1cm (3⁄8in) above the marked line. Be careful when handling the cut jumper pieces as knitted fabric will unravel easily. Try not to stretch the cut edges or pull at any loose threads as this could create a ladder in the fabric. Step three Turn both jumper pieces inside out. With wrong sides (WS) facing, pin the cut edges together and then sew in place. 02
EMBROIDERING THE EARS Step one Place the jumper right side (RS) out on your work surface and draw the placement and shape for the ears with tailor’s chalk. Step two Attach an embroidery hoop to the drawn shape. Step three Thread your needle with two strands of black stranded cotton and neatly embroider the chalk line in a small satin stitch. 03 Step four Repeat to embroider the other ear.
EMBROIDERING THE EYES Step one Mark and draw the eyes with tailor’s chalk on the bottom part of the jumper.
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Step two Using an embroidery hoop, embroider the eyes with two strands of black stranded cotton with a satin stitch. 04
FELTING THE NOSE Step one Place a felting mat inside the jumper, slightly underneath the eyes, in the centre of the bottom part of the jumper. Place the circle cookie cutter in the centre of the mat on top of the jumper. Peel off a tuft of fibres from the merino wool and place them inside the cookie cutter. Step two With a felting needle, start punching the wool into the jumper. Punch the wool until it is all attached to the jumper and the circle is filled. 05
STITCHING THE ANTLERS Step one Pin sequin trim onto the jumper by inserting the pin through the hole of one of the sequins and into the jumper. Step two Pin three pieces of trim on each side of the top of the jumper to create the antlers. Stitch in place by hand to secure. 06
When she’s not behind her sewing machine, you’ll probably find Lana Red cuddling with her cats or twirling around in one of her handmade dresses. www.lanaredstudio.com
o_
N 19
STITCH y r a libr
cut out & Keep
When the weather outside is frightful, stay in and embroider Mollie Johanson’s snowy sampler in wrapped back stitch.
WraPped Back StiTch
WRAPP D BACK STITCH 01
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LEARN THE STITCH 04
USE THE STITCH
YOU WILL NEED
WORKING WRAPPED BACK STITCH
Q Stranded cotton in white, brown and pink Q 15cm (6in) embroidery hoop Q Embroidery needle Q 20cm (8in) ribbon, for hanging Q Bondaweb Q Water-soluble sticky-backed interfacing or tracing paper Q Linen: 25x25cm (10x10in)
Step one Begin with a line of regular back stitch. Working in a second colour, come up from the back at the end of the first stitch. The new thread should come from behind the stitch without coming through the back stitch. Pass the thread over the back stitch and then slide the needle under the stitch. 01 Step two Pass the thread over the line of stitching and slide the needle under the next stitch. Repeat along the entire line of stitching. Wrap the stitches in either direction, but be consistent. 02 Step three When you reach the end of the line and complete the last wrap, go back down through the fabric with the end of the working thread under the last back stitch. 03
NOTE Q Download the templates at www. simplysewingmag.com/downloads
EMBROIDERING THE DESIGN Step one Trace the tree and ribbon templates onto Bondaweb and iron them onto the back of some fabric pieces. Cut out the shapes and peel off the paper backing. Step two Arrange the shapes on the square of linen. They should line up with the embroidery template as close as possible. Iron the shapes to the fabric. 04 Step three Print or trace the embroidery pattern onto water-soluble sticky-backed interfacing or tracing paper. Attach the pattern to the fabric so it lines up with the fused fabric. You may need to cut the pattern apart to line it up properly.
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Step four Working with three strands of stranded cotton, embroider the snowflakes with white, the trees with brown, and the ribbon with bright pink stranded cotton. Use straight stitch to embroider the snowflakes and use back stitch for all of the other shapes. 05 Step five Soak or tear away the interfacing or tracing paper. Step six Add the wrapping to the tree branches using three strands of white stranded cotton. Step seven Place the finished embroidery in an embroidery hoop. Trim the excess fabric, leaving approx 2.5cm (1in) around the edge. Use a needle and thread to stitch around the edge of the fabric and gather it at the back. Secure the thread end. Step eight Tie a loop of ribbon through the screw at the top of the hoop for hanging, then tie a bow around the hardware. 06
ready to roll Jennie Jones’ clever colourblock tote bag rolls up neatly for easy carrying (and gifting!).
ro -up tot YOU WILL NEED
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Q Main fabric: 45x80cm (18x32in) Q Contrast fabric: 40x40cm (16x16in) Q Elastic or hairband Q Button Q Basic sewing kit FABRIC USED Main fabric: Flower Ball from the Confetti range by Dashwood Studio from www.sewcraftyonline.co.uk NOTE Q Use a 1cm (3⁄8in) seam allowance.
CUTTING OUT Step one From the main fabric cut out the following pieces: Bag bottom: two pieces 26x40cm (10¼x15¾in). Handles: two strips 8x50cm (31⁄8x20in). Step two From the contrast fabric cut out the following pieces: Bag top: two pieces 18x40cm (71⁄8x15¾in).
MAKING THE FRONT AND BACK Step one Place one top and one bottom piece right sides (RS) facing and pin together along one long edge – for directional prints, this should be the bottom of the top piece and the top of the bottom piece. Step two Fold the hairband or piece of elastic in half and place the two ends between the two pieces of fabric in the centre, matching the elastic ends or folded loop with the raw edges of the fabric. Pin into place. Step three Sew together, backstitching at the beginning and end of your stitching. It is also advisable to backstitch over the elastic when you reach it to secure it in place. Step four Press the seam open and then topstitch either side of the seam on both of the fabrics to decorate. 01 Step five Repeat this with the other top and bottom pieces to make the bag back, without inserting the elastic this time. If you are using a directional print remember to sew your fabrics with the print facing the correct way.
bag under by 1.5cm (5⁄8in) to the WS then 1.5cm (5⁄8in) again and press. Step two Tuck the short ends of one handle under this pressed-under hem, placing each raw end 12cm (4¾in) from the sides of the bag top. Pin into place. Step three Sew along both the top and bottom of the hem – this will finish the edge and secure the ends of the handle in place. Step four Fold the handle upwards and pin then stitch into place by sewing a square at the top of each handle end. 02 Step five Repeat this with the other handle and the other side of the bag.
ASSEMBLING THE BAG MAKING THE HANDLES Step one Fold one handle strip in half lengthways with wrong sides (WS) together. Step two Open out the folds and then fold the long raw edges to the WS to meet at the centre fold and press. Step three Fold the handle in half again and press to enclose the raw edges and give the handle crisp edges. Step four Stitch together down the open edge of the strip to make the handle. Step five Repeat to make the other handle in the same way.
ATTACHING THE HANDLES Step one Turn the top edge of one side of the
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Step one Pin the bag front and back with RS together, matching the seams between the bag top and bag bottom. 03 Step two Stitch together down the sides and across the bottom. Step three Work a machine zigzag or overlock around all the raw edges to neaten. Step four Press the bag all over to finish.
FOLDING THE BAG Step one Lay the bag out on your work surface, with the side with the elastic loop facing down. Step two Fold both of the bag handles over on top of the bag then fold the sides of the bag in to the centre, on top of the handles.
Step three Roll up the top and bottom so they meet at the loop then mark where the elastic loop folds over to the bag bottom fabric. Step four Unroll the bag then securely hand-sew the button into place, making sure you only stitch through one side of the bag. The elastic will pull on the threads slightly so it is important that the button is secure. 04 Step five Fold and roll the bag back up, and loop the elastic around the button to secure.
This stash-buster bag is great for using up leftover fabrics – and spare buttons, too!
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flight of fancy Make Laura Pritchard’s swan princess cushion crowned in metallic faux leather and add a little fairytale magic to a child’s room – or your own!
swan cushion YOU WILL NEED
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Q Denim or other medium-weight fabric: 55x115cm (22x45in) Q Copper faux leather: 20x50cm (8x20in) Q Mixed corresponding fabrics: six measuring 4x18cm (2x7in) of each, for feathers Q Black fabric scrap, for eyes Q White fabric scrap, for wing curves Q Bondaweb: 20x20cm (8x8in) Q Toy stuffing Q Basic sewing kit NOTES Q Use a 1cm (3⁄8in) seam allowance. Q Download the template from www. simplysewingmag.com/downloads
CUTTING OUT Step one Download, print and then trace two copies of the swan template: one as the body without the beak, and a second with the beak included (this second template need only be the head section, as this is for trimming the head to shape). Step two From the medium-weight fabric cut: Swan body: Cut a pair using the template. Step three From the faux leather cut: Crown: 18x20cm (7x8in). Beak: Cut two 8x8cm (31⁄8x31⁄8in) squares. Step four Follow the manufacturer’s instructions to apply Bondaweb to the wrong side (WS) of each of the mixed fabrics, the black fabric for the eye and the white fabric for the wing curve. Step five Using the feather template, trace the shapes onto the paper side of the Bondaweb and cut out. Step six From the mixed fabrics cut: Feathers: Cut 11 pairs. Step seven From the black fabric cut: Eyes: Cut a pair. Step eight From the white fabric cut: Wing curves: Cut a pair.
ADDING THE APPLIQUÉ Step one Arrange the wing curve and feathers on the swan front wing area as indicated by the dotted line on the tempate. 02 Step two Press in place and then press the eye to the face in the same way. Step three Repeat these steps to attach all of the applique pieces to the second swan body fabric piece. Step four Carefully stitch around the edge of each shape to fix it to the background permanently. You can do this neatly with free-motion or hand embroidery as desired.
ATTACHING THE BEAK Step one Use the full template to mark the beak shape on the wrong side (WS) of the faux leather squares. You will need a pair (a mirror image) to make up each side of the beak. Step two Stitch each beak square to the end of each corresponding swan head with right sides (RS) facing. The curved edge of the beak will be on the inner edge of the swan head and the straight edge will be sewn to the outer edge, use the marked line on the pattern as a stitching guide line. Step three Press the seam open using a pressing cloth and a temperature suitable for the faux leather. It is best to check the temperature on a scrap first. 01 Step four Trim any excess fabric back to a 5mm (¼in) seam.
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MAKING THE SWAN Step one Place the two swan body pieces RS together aligning the raw edges and pin well. Step two With the marked side uppermost, stitch the two pieces together following the marked line. Leave two turning gaps, one on the head and one at the base of the swan as indicated on the pattern. Step three Trim seam allowances at acute points and narrow parts. Clip into inner curves at regular intervals, taking care not to cut through your stitching. Press the seams. 03
STUFFING THE SWAN Step one Turn the cushion RS out and stuff with toy filling. A chopstick or knitting needle may be helpful for this step. Be extra careful when
turning the swan head and neck RS out as they are particularly narrow at points and therefore much more delicate. Step two Neatly hand-stitch the gaps closed with ladder stitch.
MAKING THE CROWN Step one Fold the faux leather crown fabric in half WS facing with the shorter edges meeting. Place the crown template on top with the base of the crown on the folded edge. Clip into place (don’t pin, as it will leave holes in the fabric). 04 Step two Stitch through the paper, along the top zigzag edge of the crown with a short stitch length following the printed line. Step three Carefully tear away the paper. If there are any small pieces of paper left behind you can use tweezers to carefully remove them. Topstitch close to the bottom folded edge. Step four Trim the top zigzag edge approx 2mm (1⁄8in) away from the stitching. Step five Align the side raw edges and stitch together into a tube as indicated by the pattern. Step six Turn the crown RS out.
FINISHING OFF Step one Hand-stitch the crown to the swan’s head at a couple of points with small stitches. Step two Trim off any loose threads and plump the cushion to make sure the stuffing is evenly distributed throughout to finish.
petal power Elspeth Jacksonâ&#x20AC;&#x2122;s hydrangeas are just as pretty as the real deal â&#x20AC;&#x201C; and will last a whole lot longer! Make a set with her rag rug tutorial for a statement centrepiece.
rag rug f ow rs YOU WILL NEED
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Q Fabric offcuts or old clothing Q Hessian with a 10 holes per inch weave Q Rag rug spring tool Q Rag rug gauge (optional) Q Glue gun/PVA glue Q 6 x thick twigs Q Vase Q White spray paint or matt paint Q Marker pen Q Basic sewing kit SUGGESTED FABRICS Chiffons, cottons and lightweight fabrics work best for these flowers as they will move in a similar way to real flower petals. We chose patterned fabrics that mimicked the colours of real hydrangeas. NOTE Q Download the templates from www.simplysewingmag.com/ downloads
PREPARING YOUR STEMS Step one Cut each of the twigs to approx 30cm (12in) in length. Remove any large side shoots. Step two Spray paint one side of the twigs white and leave them to dry. Turn the twigs over and spray paint the other sides, making sure they are fully coated.
HEMMING THE HESSIAN Step one Download and print the templates then cut them out. Step two Place the templates onto the hessian, so each template is at least 3cm (1¼in) away from the edge of the hessian and 3cm (1¼in) away from each other. Step three Draw around each of the templates with a thick marker pen. Step four Sew around each of the drawn templates using a zigzag stitch. 01
PREPARE YOUR FABRICS Step one Cut your fabric into 2-3cm (¾-1¼in) wide strips. Use as much of the length of your fabric offcuts as possible – the longer the strips the better. Step two Wrap the long strips around the rag rug gauge and then cut down the groove to cut them to the same length, approx 7cm (2¾in). If you do not have a rag rug gauge then this can be done manually. Discard any pieces that are much shorter than the others when removed from the gauge. 02
RAG RUG THE HYDRANGEAS Step one Within the zigzag-stitched outline, weave the pointed end of the spring tool into a hole in the hessian and up through a hole two
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holes away. You should now have two strands of the hessian on top of the lever of the tool. Step two Squeeze the wooden handle and spring handle together to raise the lever at the end of the tool. Step three Pick up a strip of fabric and place the short edge of the fabric piece between the lever and the barrel. Release the spring lever to clench the rag. Step four Holding the hessian still, pull the spring tool back through the hessian, so that half of the strip is on one side of the strands of hessian and half is on the other. 03 Step five Repeat these steps to continue with this method until you have completely filled inside the zigzag-stitched outline with shaggy rag rugging. It should be nice and full of fabric, so make sure that you rag rug as close together as possible.
Step four Fold the figure-of-eight together to sandwich the top of the twig between the two sides and press until the glue is dry.
FINISHING OFF Step one Using the glue gun, cover any bits of hessian that might be visible by carefully gluing pieces of fabric together around the ‘seam’. Step two Trim any longer pieces of fabric to create hydrangea spheres. Step three Arrange the hydrangeas in a vase. Cut some twigs shorter to create a bouquet.
ASSEMBLING THE HYDRANGEAS Step one Carefully cut around the zigzagstitched outlines, being careful not to cut any of the fabric pieces. Keep nice and close to the stitching without cutting into it. Step two With the shaggy side of the hessian face-down, position the twig in the centre of one half of the figure-of-eight shape. 04 Step three Glue around the edge of this side of the shape, making sure to put plenty of glue around the twig itself.
Add live foliage to your vase too for an attractive full bouquet.
RING-A-POSIES Tiny berry sprigs, dainty fronds and delicate blooms adorn Anna Aliciaâ&#x20AC;&#x2122;s wintery wreath design, created with simple hand and punch-needle embroidery.
mbroid r d wr ath 01
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YOU WILL NEED
ASSEMBLING THE HOOPS
Q Embroidery hoop: 30cm (12in) Q Embroidery hoop: 15cm (6in) Q Medium-weight cotton canvas: 40x40cm (16x16in) Q Off-white felt: 15x15cm (6x6in) Q Felt: 32x32cm (13x13in), for backing Q 2B pencil Q Tracing paper: 4 x A4 sheets Q Punch needle (optional) Q DMC stranded cotton: 934 dark green, for stitches on petals; 3813 pale blue, for flower centres; 3818 dark green, for fan pine fronds; 704 bright green, for sprigs; 433 dark brown, for three-pronged pine frond stems; 991 teal green, for three-pronged pine frond needles and small dark leaves; 564 mint, for small light leaves; 3863 mid-brown, for berry stems; 350 red, for berries; Ecru, for French knots Q Basic sewing kit
Step one Start by assembling the double embroidery hoop. First, take the large hoop and lay out the centre ring on a firm, flat surface. Step two In the middle of that ring, place the outer ring of the smaller hoop. Lay the cotton canvas fabric on top and press the smaller inner ring into its outer ring. Step three Now press the outer ring of the larger hoop over its inner ring. Check that the inner hoop is central within the outer hoop and adjust if necessary. Tighten up the hoop screws and pull the fabric taut. 01
NOTES Q The tension in the weave of your fabric is important for punch needle embroidery, so test a sample first. Q Download the template from www. simplysewingmag.com/downloads
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TRACING THE FLORAL PATTERN Step one Download and print out the template. Step two Trace the pattern onto tracing paper with a 2B pencil. For the flowers mark only the centre of each, do not draw around them. 02 Step three Lay the drawing face-down over the embroidery hoop and draw over the pattern on the back of the paper. This will imprint the drawing from the front of the paper onto the fabric. You may need to re-tighten the fabric once you’ve done this.
MAKING THE FELT FLOWERS Step one Using the petal template provided, cut out 30 petals. Step two Take five of the petals and arrange them so they slightly overlap around one of the
points that marks a flower’s centre. Leave a small circular gap at the centre of the petals, about 3-4mm (1⁄8-¼in) across. Step three Pin the petals in place and then stitch each petal at its base with three long radiating stitches in dark green stranded cotton, as shown in the photo. 03 Step four Repeat for the remaining flowers. Step five To make the centres of the flowers, set your punch needle to a medium-length loop and thread with a pale blue stranded cotton. From the reverse side of your embroidery, make stitches to fill in the gap at the centre of the five attached petals. Step six Repeat this for all of the flowers. 04
EMBROIDERING THE DESIGN Step one We used a mix of punch-needle embroidery, embroidering from both sides of the fabric to create both flat and looped areas, some simple running stitch with a regular needle and French knots also with a regular needle. We used three strands of cotton for all of the embroidery, apart from the French knots which use six strands to create fuller, more prominent knots. Step two For the leaves, berry stalks and some of the pine fronds we used punch needle stitches on the front of the fabric, which means the loops are neatly hidden on the back. You could use regular embroidery techniques if you
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don’t have a punch needle, but a punch needle will give added texture. We then used a regular sewing needle to sew the thinner pine fronds in a simple running stitch. 05 Step three Use a shorter loop stitch (punching from the back of the fabric if using a needle punch) for the berries. Step four Sew some chunky French knots dotted around to give a snowy, wintery feel. 06
FINISHING OFF Step one Once the embroidery is complete, snip through the unused fabric in the middle ring in lines from the centre to the edge, so that you can fold the fabric back. 07 Step two Trim the outer edge of your fabric to approx 3cm (1¼in). Step three Turn the embroidery over and lay it face down. Lay a piece of felt on the back. Feel for the indent between the two rings of the larger hoop and use a pencil to draw all the way around that indent. Repeat to mark the indent of the inner hoop onto the piece of felt. Step four Cut out the ring of felt you’ve drawn and lay it on the back of the embroidery. Carefully tuck the inner and outer edges of your excess fabric under the felt, pinning along both edges as you go. 08 Step five Neatly hand-sew the felt to the canvas around both the inner and outer edges to hold the backing in place to finish.
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Love hand-stitching? Swap felt for thread and embroider the flowers in satin stitch.
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a good read
PIECE BY PIECE From restoring antique furniture to its former glory to breathing new life into shabby lampshades, upholsterer and teacher Joanna Heptinstall shares why she's so passionate about traditional craftsmanship. Written by Sarah Dawson.
here’s something enchanting about upholstery; the act of skilfully bringing a neglected piece of furniture back to life, or even transforming a plain chair into a work of art, seems so full of care and passion it’s no surprise that this artisanal craft is attracting new fans. Joanna Heptinstall is one of the women leading the charge of creative and talented British upholsterers. She's dedicated to keeping these traditional skills alive with professional courses and workshops at the Traditional Upholstery School, which she founded in 2016. Based in a pretty Wiltshire village, the school has gone from strength to strength, thanks in part to Joanna’s clear
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passion for the art of upholstery. Growing up surrounded by a family of creatives, it makes sense that Joanna has chosen such a hands-on, artisanal career. “All of the females in my family were sewers, including some professional dressmakers, wedding dress makers and glove makers, so sewing was part of our everyday language. In fact, it was so deep into my family’s culture to sew – and with professional skill – I believed I could do it, too. As a toddler, my mother would give me a pair of small, sharp, threadsnipping scissors and some old magazines to clip up. I’ve never had a problem with cutting straight lines!” she recalls. However, working with furniture wasn’t
always on the cards. “I discovered upholstery almost by accident,” Joanna smiles. “I was a freelance journalist in my mid-20s and was sent by Homes & Gardens magazine to write a piece about upholstery courses at the Traditional Upholstery Workshop in Wales. I fell in love as soon as I walked into that shed. It was the earthy smell of hessian and balls of twine, the fact that upholstery is traditional, practical and creative all at the same time. I knew at once that I wanted to do it and felt so relaxed and happy. It was an epiphany! I stayed the whole week, loved every minute of it, was good at it. I then came home and enrolled on what was to be one of the last City & Guilds upholstery courses,
a good read straight away. I have always loved working with my hands, and in upholstery I had found a genuinely enduring and creative craft that I could make a living from.” A NEW DIRECTION Having that instant connection with a craft is something very special, and Joanna knew exactly what direction she now wanted to take her life. “Upholstery, for me, was never a hobby. I was sure from the very outset it would be my career,” she explains. Joanna can still remember her first project – “It’s a bit like your first kiss,” she laughs, “and just as squirmy! I remember taking two weeks to reupholster a set of drop-in dining seats – a job which should have just taken me a day or two.” From here, Joanna worked hard to hone her skills, although teaching was always something she aspired to. “Right from the very beginning, I thought how wonderful it would be to run an upholstery school – just like the one I first trained at all those years ago. You have to know your craft inside out and do many years of bench time before you
can start passing on these skills, but that dream has always been there,” she explains. “When the opportunity arose about eight years ago to run a local evening class, I took it. I loved teaching. It was hugely rewarding, great fun and very sociable. I went on to teach at Denman, the WI craft school in Oxfordshire, which gave me great confidence in my teaching abilities.” It was around this time that she decided to take a leap of faith and start up a school of her own. “I knew I was ready to launch the Traditional Upholstery School when some of my students asked me to teach them a diploma – enough core skills for them to work as upholsterers too. So, I had some students (well, three!), and all I needed was premises. The rest I knew would be sorted as I went along.” The jump was worth it, as Joanna’s school is now a huge success, with courses regularly getting fully booked with students keen to take on a new challenge. “Our students can be all ages and from all backgrounds, but the majority tend to be women who already have a career and are looking for a change.
"OVER 90 PERCENT OF NEWLY TRAINED UPHOLSTERERS ARE NOW WOMEN, MANY COMING INTO THE TRADE AS THEIR SECOND CAREER, BRINGING A LOT OF CREATIVIT Y."
They may have worked in IT, or teaching, and are now searching for something more creative, and to be able to work for themselves,” reveals Joanna. This influx of new female talent is something Joanna has noticed across the industry as a whole. “Since I trained 20 years ago, upholstery has become a female-dominated trade,” she explains. “Whereas it used to be mainly men in sheds, more than 90 percent of newly trained upholsterers are now women, many coming into the trade as their second career, so they are bringing a lot of business confidence and creativity with them.
Upholstery often involves stripping a chair right back to its frame – a step Joanna relished with one of her favourite projects, her own sofa, "which needed totally rebuilding – it took me four weeks non-stop and I love it.”
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a good read
It’s making it a very vibrant craft and allowing experimental and bespoke styles to flourish.” Joanna thrives in her teaching role and loves to pass on her knowledge to those starting out. “It’s my job to push my students to achieve the best they can, and to uphold the highest standards of a traditional craft that is centuries-old. I am very driven by technical excellence and upholding the traditional methods,” says Joanna. “That said, upholstery is hugely rewarding and we have a lot of fun. I try to do it in a friendly giftgiving way, rather than coming across as a big know-all, though!” BRIGHT IDEAS As well as the school, Joanna has also been busy writing a book on another big love of hers, lampshade making. Sewing Lampshades is a comprehensive step-by-step guide to creating 18 beautiful lampshade designs, covering everything from measuring your fabric, to choosing a frame shape and crafting your final shade. But how did the idea for the book come about? “At the time, there wasn't a good modern book on lampshade-making, so I decided to do one! I contacted Search Press, who said yes, and then off I went,” reveals Joanna.
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“My years working on craft magazines stood me in good stead, so I knew what was required from me." Ever the teacher, Joanna's book takes us through all the key skills needed for lampshade-making. "The shades for my book were chosen to explain core techniques, each one building on the one before. Aesthetically, I aimed to please as many people as I could and offer ideas which readers could make
"MAKING AND RESTORING LAMPSHADES BECAME MY OWN CREATIVE OUTLET. I HAVE GREAT FUN PLAYING WITH FABRIC COMBINATIONS AND TRIMMINGS." their own with their choices of fabrics and trimmings. The hardest thing was fitting it all in. I hadn't reckoned on writing a book and setting up an upholstery school in the same year. That was tough going and I didn't sleep much!” Lampshade-making is a specialised area of upholstery, but one that Joanna is deeply passionate about – even offering lampshade-making courses at the Traditional
Upholstery School. “I absolutely love the processes; making the templates, cutting and sewing, then fitting and pinning. It allows me to exercise my upholstery skills and sewing know-how to a high standard of finesse,” she explains. “It started when I spotted a tatty 1950s lampshade frame in a shop window in Bath. I bought it, took it home and spent several evenings – and several attempts! – trying to recover it. Back then, there were no books on lampshade-making, no-one was running any courses and there were few people who could remember how to do it. But I had memories of my aunt making silk shades for her wall lights when I was little, so I knew it was possible. There were great similarities with stretching fabric over an iron-framed chair, so as an upholsterer I was well-armed with the skills. It took a few goes but I worked it out. After that I started collecting old lampshade making books, some written as early as the 1920s.” Working with lampshades certainly has its benefits, not least due to the size. “They are much smaller and more portable then chairs – something that’s very important when juggling shed-life with family life!” Joanna laughs. “Plus, whereas with upholstery I was usually working to a customer’s brief, making
a good read
Left: Joanna teaches lampshade-making classes at her school, and also enjoys the creative outlet the craft offers her outside the classroom, too. "I'm making them for myself, which gives me freedom to play. I strongly believe you need to give yourself freedom from commercial pressures in order to come up with something innovative.” and restoring lampshades became my own creative outlet. I have great fun playing with fabric combinations and hand-making the trimmings.” Having such creative control over what she’s making means that Joanna can enjoy experimenting with lots of different shade styles. “For my current lampshades, I am inspired by the very nature of the handmade technique, so the stitches and structure are at the fore of the design, not hidden behind frills and braid. I'm making them for myself, which gives me freedom to play. I strongly believe you need to give yourself freedom from commercial pressures in order to come up with something innovative and creatively courageous.” PROJECTS AND PLANS It’s an exciting time for Joanna's school, and she has her hands full with more big plans to develop it even further. Splitting her time between teaching and planning lessons and projects, her days are undeniably busy, but she couldn’t be happier. “A teaching day always starts with me sweeping the floor with my huge sweeping brush and quietly focussing on the day’s key tasks. Once the students arrive the workroom is then full of bustle and chatter, laughter and hammering. I’m always in the middle of it, so the day tends to fly by. If the weather's dry, we take a lunchtime break and sit by the pond, which is just outside our warehouse building,” Joanna explains. “On ‘planning days’, when I have my workroom to myself, my day is very different. I have a favourite workbench by the window, my dog, Nellie, is usually snoozing in a chair next to me and, apart from Radio 4 burbling along in the background, it is peaceful. I can spend many contented hours in there, upholstering,
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lesson-planning and drinking endless mugs of Earl Grey tea.” Sounds heavenly to us! Creativity runs through her blood, but typically with so little time she doesn’t get a chance to work on anything much, other than her upholstery. “I love decorating, but am so busy right now that this rarely gets beyond reading home style magazines and dreaming up ideas,” she smiles. “I do have an odd love of crocheting dish cloths, which must be the most un-glamorous craft of all! It usually happens on the sofa at the end of a very long day – people do seem especially thrilled to receive them as gifts.” Of all the projects she’s worked on, there is, however, a clear favourite. “My own sofa,” she reveals. “It’s a huge camel back sofa that I bought at an auction in Bath, which needed totally rebuilding, including a sprung seat, back and arms, all totally reupholstered in horse hair using traditional methods. It took me four weeks non-stop and I love it.” The future is looking very bright, not only for Joanna and her school, but for the craft of upholstery in general. “My plans are to continue the school’s aim to train its students to an excellent standard of craftsmanship, in a supportive and creative environment.
Upholstery is a specialist skill, and is becoming more sought-after as people realise that it is better to revive and restore, than to throw furniture away. I feel lucky to be living and working in an era with a wealth of creative and talented people,” she smiles. If Joanna has left you feeling inspired to take your first step into upholstery, here’s her advice: “Enrol on a good course, work hard, learn your lessons well and enjoy every step of the journey.” See you on one of Joanna’s courses very soon... To find out more about Joanna's work visit www.traditionalupholsteryschool.co.uk
TRY LAMPSHADE-MAKING Learn key lampshade-making skills and create 18 stunning shades with Joanna's book, Sewing Lampsades, with tailored, pleated, faux-pleated and loose-cover shade designs to work your way through. £14.99 from www. searchpress.com
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Let your sewing skills shine with Michael Caputoâ&#x20AC;&#x2122;s patchwork quilt in a contemporary diamond design.
Diamond Qui t YOU WILL NEED
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Q 30 fat quarters, see notes for details Q Wadding: 128x203cm (50½x79in) Q Backing fabric: 1.85m (2yds) Q Binding fabric: 45x115cm (17¾inx½yd) Q White cotton thread, for piecing and quilting Q Seam roller (optional) Q Matching thread Q Basic sewing kit NOTES Q Download the templates from www. simplysewingmag.com/downloads Q Press all fabrics before cutting out. Q The fabrics used are from Well Said by Sandy Gervais for Moda Fabrics. Q The sample quilt is made using five colour groups (blue, green, orange, navy and white) and each colour group has six designs, with a total of 30 fat quarters. Q The kite pattern in the quilt is created by sewing a series of long and short triangles together. Each kite is made up of one long and one short triangle, so consider the long/short pairings when cutting out your fabrics. FINISHED SIZE 113x189cm (44½x74½in).
CUTTING OUT Step one Download, print and cut out the triangle templates. Step two When marking, remember to rotate your templates to minimise wasted fabric. Step three From the fat quarters cut: Binding: 2in (6.5cm) wide strip from the long edge of each piece. Step four From the fat quarters cut: Long triangles: 56 using template A. Short triangles: 50 using template B.
ASSEMBLING THE QUILT TOP Step one Arrange the triangles on your work surface, using the kite quilt pattern as a guide. Ensure the colours match up so the sets of short and long triangles will form the kite shapes. Step two When you are ready to start attaching your rows, take the first three short triangles and place them in front of you. Take the middle triangle and pin it right sides (RS) together on the left triangle, aligning the right-hand edge. Sew using a ¼in (6mm) seam allowance. 01 Step three Press the seam to the left and then attach the next triangle. Repeat until the first row is complete. Label as ‘Row 1’ and set aside. Step four To make the tall triangle rows, the process is the same. Place two tall triangles RS together, with the long edges aligned. 02 Step five Pin then sew using a ¼in (6mm) seam allowance. Press the seam to the left and then
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attach the next triangle. Work your way across the row. Press the seam to the left each time. 03 Step six When all rows are complete, assemble them by inserting a pin through the point of a triangle and then match it with the matching point on the underside row. Pin at each seam point to ensure the corners line up. 04 Step seven Sew using a ¼in (6mm) seam allowance then press all seams downwards.
ASSEMBLING THE QUILT Step one To make a quilt sandwich, place your backing fabric RS down, the wadding on top, and then the quilt top on top with the RS facing up. Make sure all of the layers are nice and smooth, with no wrinkles. Step two Tack the three layers together, using safety pins or your preferred method. Step three Quilt as desire – the sample quilt has been quilted using a walking foot with a slightly longer stitch length of 3.5mm, and echoes the shape of the kites. Once the first long top-tobottom quilted line had been completed, the next row was sewn from the top again and spaced by the width of the walking foot. Step four Trim the edges so that all edges of the quilt sandwich are straight and aligned. Step five Prepare the binding and bind the edges of the quilt, mitring the corners. Step six Fold the binding over to the back of the quilt and slip stitch in place by hand to finish.
This diamond quilt design is one of 25 contemporary quilting projects in Modern Quilting by Michael Caputo, published by CICO Books, £12.99. See more at https://makeetc.com/
StaR OF WONDER A little clever folding and weaving is all you need to whip up Anna Alicia's origami star baubles for your tree.
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CUTTING OUT
Q Quilting-weight cotton fabric: 30x32cm (12x13in) per star Q Gold cord: 1-2mm thickness x 1m (1⁄8in thickness x 11⁄8yd) Q Large needle Q Basic sewing kit
Step one From the cotton fabric cut: Star strips: four strips 30x8cm (12x31⁄8in).
FABRICS USED The fabrics used are from the Winterfold collection by Dashwood Studios. Icicles, Copper Metallic. Trees, Copper Metallic. Snowflakes and Frost, Copper Metallic. For stockists visit www.dashwoodstudio.com
PREPARING THE STRIPS Step one Fold one strip in half wrong side (WS) together, so the long edges meet, and press with a hot iron. Unfold the strip and now fold both long edges to meet the centre crease you have just made. Press along the folds. Step two Re-fold along the centre crease and press again. 01 Step three Fold a strip in half with the short ends meeting and overlap one end by approx 2.5cm (1in). Press the fold. 02 Step four Repeat these steps with the three remaining strips.
FOLDING THE STARS Step one Take four of the strips in the same fabric and lay out with the shorter sides on top. Arrange two of the strips as in the image, so that the second strip sandwiches the first 2cm (¾in) from its folded end. 03 Step two The third strip then sandwiches the second in the same way. Finally, the fourth sandwiches the third then is tucked through the folded end of the first. Gently pull the raw ends until they tightly and neatly fit together. 04 Step three Turn your woven piece over. Fold just the top, longer piece of one of the strips over
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the central weaving, then work around, folding the second and third. At the fourth strip, fold but also tuck the strip under the first. Step four Take one of the strips that is closer to the front of your woven piece and fold it at an angle, and then fold again at an angle to create a point, as in the image. 05 Step five Fold this point in half, towards your weaving, and tuck the raw end underneath the square below – there will be a raw end sticking out at this stage. 06 Step six Repeat this for each of the strips that are closer to the front (which will mean skipping every other strip). Turn over and repeat on the other side with the remaining strips. Step seven Gently pull one of the raw ends a little further through, trim and then pull the point back into place. Repeat for each point on both sides.
FINISHING OFF Step one Thread the cord onto a large needle. Pass the needle through the inside of the star, from the middle of the bottom edge to the middle of the top edge. Pass the needle between the woven layers and not through to the outer fabric. Step two Pass the needle back down on the other side of the inner panel. Tie the ends in a double knot and trim, then give the loop at the top a little tug on one side to hide the knot.
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Adorn your tree in fabric scraps with these Scandi-style baubles
This bauble project is one of over 45 festive things to make in Scandi Christmas by Christiane Bellstedt Myers, published by CICO Books (£12.99). Photos by Caroline Arber © CICO Books. Visit https://makeetc.com/
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Our origami stars (p77) have us inspired to deck the halls with as much fabric as possible this Christmas! And these scraphappy baubles from Scandi Christmas by Christiane Bellstedt Myers are the kind of speedy project we need to fit in around the festive rush. There's no sewing required to make them – simply press the fabric edges into a styrofoam ball using a sharp knife, add twine, and voila! If you really can't resist getting your sewing kit out, though, you could also hand-stitch the pieces in place, or even add some embellishments.
how many sleeps? Kids will love Kirsty Hartleyâ&#x20AC;&#x2122;s tree advent, with detachable shapes for them to decorate it with sparkles, stars and pom poms galore!
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CUTTING OUT
Q Green felt: 70x150cm (28x60in), for the tree Q Red felt: 40x25cm (16x10in), for the base Q Orange felt: 40x25cm (16x10in), for the pockets Q Bondaweb: 2mx44cm (2¼ydx17in) Q A4 sheets of brightly coloured felt, for the decorations Q Printable cotton poplin (optional) Q Black stranded cotton Q Ribbon to decorate and form a loop for hanging Q Assorted glitter fabrics Q Assorted ric-rac braid and ribbons, to decorate Q 6 pom poms Q Self-adhesive Velcro Q Wadding, to fill the shapes Q Embroidery needles Q Basic sewing kit
Due to its narrow width, you may need to piece together the Bondaweb to create an entire tree/ base shape. Step one Download, print and cut out the templates. Step two From the green felt cut: Tree: two using the template. Step three From the red felt cut: Base: two using the template. Step four From the orange felt cut: Advent number strips: three strips each 40x7.5cm (15¾x3in). Step five From the Bondaweb cut: Tree: one using the template. Base: one using the template. Step six From the bright felt sheets cut: Decorations: two for each of the decoration using the templates.
NOTES Q Download the templates from www.simplysewingmag.com/ downloads Q We used printable cotton poplin from www.cottonpatch.co.uk for the numbers.
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(¼in) from the edge to secure, and then repeat for the base. 01 Step four Cut a 12cm (4¾in) length of ribbon and fold it into loop. Fold the ends of the ribbon under and stitch across the folded base of the ribbon to secure it to the top of the tree, backstitching to secure. 02 Step five Thread your needle and hide the end knot between the two felt layers, and bring the needle up to the right side (RS). 03 Step six Securely hand-stitch each of the six pom poms to the ‘branches’ of the tree. 04
MAKING THE BASE Step one Bond the base pieces together in the same way as the tree pieces. Step two Stitch around the outer edges 5mm (¼in) from the edge to secure.
PRINTING THE ADVENT NUMBERS PREPARING THE TREE AND BASE Craft felts are likely to melt under a hot iron, so test the temperature on a scrap first. Don’t press for too long in any one area, just enough to bond the felt pieces together. Step one Back one side of the felt with Bondaweb, pressing the paper side to the wrong side (WS) of the felt. Step two Layer the felt panels together and press the backing felt piece to bond. Step three Stitch around the outer edges 5mm
To print the numbers onto the cotton poplin you will need access to a desktop printer. Alternatively, you could appliqué or embroider numbers onto the pockets. Step one Print the number template onto the cotton poplin sheets following the manufacturer’s instructions. Mark the eight sections onto each orange felt strip before pressing the numbers in place to get the positioning correct. Cut out all 24 squares. 05 Step two Peel back the backing sheet to reveal
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the adhesive bonding web. 06 Step three Place the squares into the marked sections, cover with a soft cloth and press each of the number squares to the orange felt.
APPLIQUÉING THE NUMBERS Step one Cut felt for each number using the template. Mark the eight sections onto each orange felt strip before pressing the numbers in place to get the positioning correct. Step two Topstitch the numbers to the orange felt – you could also experiment with hand embroidery stitches such as blanket stitch, or machine decorative edge stitches. Step three Arrange the numbers on your ironing board, pressing the numbers eight per row into place (take care with the temperature of your iron when pressing the felt). Step four Pin then sew the orange felt strips to the red tree base along the lower edge and sides of each strip. Step five Sew along the marked lines to create eight pockets, back stitching to secure. 07 Step six Overlap the assembled base and the bottom edge of the tree by 1cm (3⁄8in) and topstitch on the base to secure it to the tree.
main tree. Step two Once the pieces have been bonded together, draw around the template on the WS of the felt or fabric (this will be whichever side will be the back of the decoration). Using a small stitch length, sew carefully 5mm (¼in) within the marked shape to define. 08 Step three The decorations can be embellished with stitch patterns to highlight areas such as the reindeer antlers. 09 Step four If you are making a stuffed decoration, first cut out the chosen shapes from the felt using the templates. Step five Decorate the felt pieces with stitches, beads, ricrac, braid, etc. before assembling. Step six Sew WS together, leaving a turning gap. Step seven Stuff the decorations and topstitch the turning gap closed. 10
Get kids involved in designing their own baubles and shapes to ‘hang’ on the tree.
MAKING THE GLITTER STAR DECORATIONS Step one Trace the star template onto the glitter fabric and cut it out. Sew the star onto a piece of felt before cutting out. Layer this with a second colour of felt if desired. 11 Step two Trim back the felt backing. You can trim right up to the glitter fabric, or leave a felt border around the outside. 12
MAKING THE FELT DECORATIONS Step one The flat decorations can be made by bonding layers of felt together to create flat shapes, using the same technique as for the
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FINISHING OFF Step one Add the hook side of self-adhesive Velcro to the reverse of each decoration.
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a snowman! No need to wait for a white Christmas – you can sew your own frosty friend with Jo Carter’s smiley snowman softie.
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YOU WILL NEED Q Fabric A: white fleece fabric, 50x50cm (20x20in), for the main body Q Fabric B: cotton fabric, 22x22cm (9x9in), for the arms Q Fabric C: cotton fabric, 10x10cm (4x4in), for the nose Q Fabric D: fleece fabric, 25x56cm (10x22in), for the hat and scarf Q Fabric E: cotton fabric, 16x36cm (7x14in), for the hat lining Q Pair of 12mm black plastic safety eyes Q Black embroidery thread Q Polyester toy filling Q Wadding/felt scrap: 12x12cm (5x5in) Q Pair of buttons: 18mm (¾in) diameter Q Basic sewing kit FINISHED SIZE Approx 30cm (12in) tall with the hat or 26cm (10in) tall without the hat. NOTES Q Download the templates from www.simplysewingmag.com/ downloads Q Use a 6mm (¼in) seam allowance unless otherwise stated.
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Q The templates include seam allowances where necessary. Q Arrows on the pattern pieces indicate pattern/pile direction for marking and cutting out. Q When the pattern specifies to cut two or more of a pattern piece, after marking out half of the pieces required the template needs to be turned over to mark out the remaining half so that the pieces are cut as mirror images. Q This snowman has been made mainly using stretchy fleece fabric so clipping into internal curves and making notches around external curves is not always instructed for fleece. When clipping always take care to avoid any stitching. Q Due to the curved shape of the snowman using cotton fabric is not recommended, with the exception of the arms, nose and hat lining. Q As the arms are sewn directly into seams, sew over the joins so they are well secured and to reduce the likelihood of them being pulled out.
CUTTING OUT Step one Download, print out and then cut out the templates. Step two We recommend that you draw out the pattern pieces onto the reverse of the fabric before cutting. Step three From Fabric A, cut out the following pieces: Face: Cut one. Side head: Cut two. Tummy: Cut one. Side body: Cut two. Base: Cut one. Hat pom pom: Cut one. Step four From Fabric B cut out: Arm: Cut four. Step five From Fabric C cut out: Nose: Cut one. Step six From Fabric D cut out: Hat outer: Cut one. Scarf: Cut one measuring 7x56cm (2¾x221⁄8in) Step seven From Fabric E cut out: Hat lining: Cut one.
MAKING THE HEAD Step one With the right sides (RS) together, sew a side head piece to its corresponding side of the face. Repeat to attach the other side head to the remaining side of the face. 01 Step two Close the dart in each of the side head pieces with RS facing, tapering the end. 02
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MAKING THE BODY Step one Sew a side body piece to its corresponding side of the tummy with RS together. Repeat to attach the other side body to the remaining side of the tummy. 03 Step two Place two mirror-image arm pieces RS facing and sew around the sides, leaving the bottom end open. Clip the seam allowance at the internal corners and clip V-shaped notches around the external curves. Turn it RS out, stuff and then tack the end closed. 04 Step three With RS together, fold the dart over in a side body piece and sandwich the arm in place – checking that it is facing the correct way up – at the bottom of the dart, pinning in place if necessary. Sew the dart closed. Step four Repeat for the remaining arm and side body pieces. 05
Sew a few lines of quilting to create a realistic carrot nose detail for your snowman.
ASSEMBLING THE SNOWMAN Step one Sew the bottom of the head to the top of the body with RS together. 06 Step two Starting at the back of the body, sew the base to the bottom of the body with the RS of the fabric together and ensuring that the markers line up. 07 Step three Make the smallest holes possible through which to allow the shank of the eye in the face piece where marked. Fit the eyes into place according to manufacturer’s instructions. Sew the back of the head and body, leaving
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a 6-8cm (2-3in) opening in the back. Step four Turn RS out and stuff.
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MAKING THE FACE Step one With the RS facing up, place the carrot nose on top of the scrap of wadding/felt and quilt horizontal lines. Start quilting 6mm (¼in) or so from the point as it may help to clip away a little extra bit of the wadding at the tip of the nose when turning RS out. 09 Step two Trim away the excess wadding overhanging the sides of the nose. RS together, fold the nose in half and sew along the side. Clip the seam allowance at the tip of the nose. 10 Step three Turn the nose RS out and stuff. Handsew a running stitch around the top within the 6mm (¼in) seam allowance and pull on the thread to gather the end of the nose, folding the raw edges inside. Secure the thread to hold the gathering in place and then hand-sew the nose to the face, sewing twice around to make sure it is well-secured. 11 Step four Using three strands of black stranded cotton, embroider a smile onto the face. Sew two buttons onto the front of the snowman, ensuring they are fully secured in place. 12
MAKING THE HAT AND SCARF Step one Close the centre dart only on the hat outer and lining pieces, RS together. Sew the outer hat to the lining along the bottom edge.
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Clip the seam allowance around the internal corners and clip V-shaped notches around the external curves. 13 Step two With RS together, sew the back of the outer hat together, continuing down to sew the back of the lining together. 14 Step three Line up the front centre dart in the hat outer with the seam along the back and sew this opening closed (similar to a boxed corner) with RS together, tapering the ends of the seam. Turn the hat RS out through the same opening in the lining. Topstitch around the bottom edge of the hat. 15 Step four As for the nose, hand-sew a running stitch around the edge within the 6mm (¼in) seam allowance of the hat pom pom and gather to form a cup shape. Add filling and then draw up fully, folding the raw edges inside, and secure the thread to hold it into a ball shape. 16 Step five Hand-sew the pom pom to the hat, sewing around twice to make sure that it is secured in place. Close the opening in the top of the lining. 17 Step six Fold the scarf lengthways RS together and sew the open sides together, but leaving a 6-8cm (2-3in) opening in the long side. Clip the seam allowance at the two unfolded corners and turn RS out. Sew the opening closed. 18 Step seven Adjust the stuffing in the head. Securely close the opening in the back and add the hat and scarf to finish.
Ensure the pom pom, joins and back seam are sewn securely for durability.
See Jo Carter sewing her toys live on Sewing Quarter on Freeview 73 and Sky 687, at www. sewingquarter.com, or www.youtube.com/ sewingquarter
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REALLY MARIA
WISTERIA FABRICS
BECKFORD SILK
For your fabric, sewing, crochet and knitting needs. Breaking the boundaries
In our Etsy Shop we have a great range of fashion, craft and quilting fabrics, ribbons, patterns and haberdashery. etsy.com/shop/wisteriamagic
Silks & velvet. Natural, printed and dyed. Small quantities at wholesale prices. 01386 881507 beckfordsilk.co.uk
EAST MIDLANDS
NORTH
of colour! Over 500 fabulous fabrics for quilting, dressmaking & crafts. Workshops, haberdashery, Really Maria patterns and kits.
0203 581 0909 reallymaria.com
SOUTH WEST
SOUTH WEST
INCHES FABRICS
SEW AND FABRIC
LEICESTERSHIRE CRAFT CENTRE
HAPPY HARE
Fabrics, Wools and Haberdashery.
Family-run fabric & haberdashery, quality dressmaking & craft fabrics as well as lessons – now stocking new Liberty cotton collection. 01726 75385
Workshops and courses for adults and children of all levels, craft supplies, patterns and fabric available online and in store. leicestershirecraftcentre.co.uk
An independent sewing store in
Buttons, Ribbons and Patterns. Knitting and Sewing lessons. 39 Parsonage St, Dursley, Glos, GL11 4BP
inchesfabrics.co.uk
NORTH
SCOTLAND
Chapeltown, Sheffield, stocking a range of fabrics, including Michael Miller, Riley Blake and Tula Pink.
handmadehappyhare.com
SCOTLAND
SCOTLAND
SEW IN THE CITY
ABBEY SEWING MACHINES
ROMY’S SEWING ROOMS
PEMBERTONS
Sew in the City sells a carefully curated range of quality fabric from its Sheffield city centre shop and online. Discount code 15% SSM123. sewinthecity.co.uk
Tailored to meet your personal needs whether you are a seasoned sewer or buying your first machine. Elna, Janome, Singer, Husqvarna. 01387 249580
Bright, friendly shop for all sewers, selling patterns, fabric and notions. Sewing classes for all ages and abilities from an experienced dressmaker. romys-sewing.co.uk
Everything for the Quilter, fantastic selection of machines, cabinets, habby, fabrics & notions. Friars Street, Stirling. psmc.co.uk 01786 462993
ONLINE
To advertise here contact
CHEAP FABRICS Delivering the best hand picked fashion prints and trends. 10% off for all readers, enter promo code ‘sew10’ at checkout. 08455 202525 www.cheapfabrics.co.uk
Amy: 0117 300 8550 or amy.gardner@immediate.co.uk
To advertise here contact Amy Gardner on 0117 300 8550
IncLudes
Back IssUes
PAPER GIFTS
from
£6.99 PER ISSUE
the Meg
DreSs
the MatIlda DreSs s
SIZES 6-20
SIZES 6-20 US 4 18 EUR 34 48
US 4 18 EUR 34 48
CroSs-Over DetAil
nt Featu res an elega ine with cross over neckl two ways to wear.
DRESS A + DRESS B
Finished with ine. high colla r neckl
DRESS A FRONT
SIZES 6-20
ES 20 18 4 48
ColLar DetAil a chic
the AisLi g DreSs
DRESS A + DRESS B
US 4 18 EUR 34 48
TasSel DetAil a sweet
Finished with tassel fastening.
DRESS A FRONT
DRESS A BACK
DRESS A BACK
ComFoRtaBle fit
Boho Look
tie WaiSt
knit fabrics, Desig ned for uette. with a sleek silho
with a A laid back style and sleeves. gathered skirt
red tie Featu res a gathe fitti ng. waist for easy
FRONT
DRESS B FRONT DRESS B FRONT
Knee LenGth
2 LenGths
2 StyLes
dress lengths Includes two ns to sew. and strap optio
skirt and Includes two options. sleeve length
DRESS B BACK
DRESS B BACK
BACK
the knee Includes an on wear. skirt for easy
IssUe 48
IssUe 47
IssUe 46
Make a party dress, quick-sew gifts, modern Xmas decs, a gingerbread house toy and a circle skirt.
Make a tie-waist dress, bowling bag, rule dress, children’s room makes and a classic rag doll toy.
Stitch a boho dress and top, 1950s-style skirt, circle bag, home spa set, hexie cushion and teddy bear.
the Ev
DreSs
the Lo DreSs
SIZES 6-20
SIZES 6-20
US 4 18 EUR 34 48
US 4 18 EUR 34 48
2 StyLes to2 sew lengths
Choose from . and colla r styles
the den set
SIZES 6-20
Choose from the straps or off es. shoulder sleev
DRESS A + DRESS B DRESS A FRONT
US 4 18 EUR 34 48
s 2 SleEve OptIon es with
sew 2 StyLes tospagh etti
Make the sleev ls. cuffs or tie detai
DRESS A + DRESS B DRESS A FRONT
DRESS + TOP
BegInner ProJect
PerFect FinIsh
e Made with a bodic gs for a linin g or facin look. profession al
DRESS A BACK
fit-and-FlaResShaPe in the
DRESS A BACK
DRESS FRONT
hook and Fastens with a e sew. eye for a simpl
Elastic bring ine fit. waist for a femin DRESS BACK DRESS B FRONT DRESS B FRONT
Maxi LenGth
RetRo Look ic Inspired by class es. 1940s tea dress
length Featu res a maxi elega nt skirt with an . A-line silhouette
DRESS B BACK
DreSs & top DRESS B BACK
TOP FRONT
and Includes a top dress. w patch-pocket TOP BACK
IssUe 45
IssUe 44
IssUe 43
Make a 1940s-inspired tea dress, a boxy top, craft room storage, retro accessories and crocodile toy.
Sew a statement maxi dress, boho top, beach bag, girafe toy, pineapple doorstop and shibori blind.
Make a summer dress and top, Sew Over It’s silk cami, an everyday backpack and travel accessories.
2 Ways to OrdEr Visit the website: www.sewingquarter.com or call 0800 112 4433 *Calls will be charged at your local call rate, calls from mobiles may vary. All prices exclude p&p. All orders subject to availability.
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FRESH IDEAS WITH FABRIC
The guide
PinKing SheArs These cut a zigzag edge on fabric to neaten.
ma on, useful stitches and key sewing techniques on these pages.
MarKing pen Transfer markings to your fabric, then wash them out when finished.
Tape MeaSure
Pins
A flexible fabric tape measure will take accurate measurements.
Stainless steel pins with sharp points are best.
SheArs Keep a pair of sharp shears just for cutting out your fabric.
FabRic CliPs Use these instead of pins when sewing thicker fabrics.
MarKing PenCil Choose a colour that shows up on your fabric.
SmaLl SciSsors Use for snipping threads and cutting notches.
TaiLoRâ&#x20AC;&#x2122;s ChaLks Chalk temporarily marks fabric and can be easily brushed away.
ThiMble Wear to protect your fingers when handstitching.
Seam RipPer This sharp blade cuts through and unpicks stitches.
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FRESH IDEAS WITH FABRIC
The guide HeiGhT
HOW TO MEASURE YOURSELF ACCURATELY ALWAYS MEASURE YOURSELF BEFORE you choose a pattern size to cut out. The sizes do vary greatly from pattern to pattern, so it’s always best to measure yourself accurately and then refer to the pattern’s size chart to find your size. The chart will usually be printed on the pattern envelope or on the instructions inside. Measure yourself in your underwear and preferably in the bra you’ll be wearing underneath
your garment as this can alter the measurements slightly. Use a fabric tape measure as it’ll curve around your body well for accuracy. You can measure on your own if you stand in front of a mirror, but, for best results, ask a friend to help so they can check the tape measure is sitting in the right places. Make sure the tape measure sits snugly around you but is not pulled tight. Take the measurements shown in the diagram and note them down.
HOW TO USE A PATTERN Preparing your fabric and cutting out your sewing pattern accurately is just as important as the actual sewing. Wash your fabric before you begin as fabric can shrink and run. Once dry, press it well. PREPARING THE PATTERN Patterns often come with several options of different finishes so you may have more pieces than you need. The instruction sheet will tell you which pieces to use. Roughly cut out all of the pieces outside the lines then press the pieces using a dry iron on a low heat to remove the folds and creases. CUTTING OUT THE PATTERN Choose your size using your measurements and the size chart. Cut along the corresponding lines on your pattern. When you reach any fiddly curves, take care to cut along the correct size lines. CUTTING LAYOUTS Choose the correct one for the width of fabric you’re using, the
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size you’re cutting and the style of garment. Many patterns have more than one option (or view) and each one can have a different layout. CUTTING OUT Lay your fabric flat and smooth it out. Fold or place the fabric as shown on the cutting layout. Lay the pattern pieces in the order and right side or wrong side up as shown. Check to make sure that the grainlines on the pattern are parallel with the selvedges by measuring. Pin your pattern pieces carefully in place and cut around them through the fabric using a pair of dressmaker’s shears. TRANSFERRING MARKINGS The markings on the pattern pieces need to be transferred to the fabric. They’re really important for matching up fabric pieces later and for positioning elements such as darts and pockets. You can mark these with chalk, fabric markers, snips on the fabric, or with small tacking stitches.
Back WaiSt LenGth From the top of your spine at the base of your neck to your natural waist
Stand against a wall, barefoot, then measure from the top of your head to the floor
High Bust/CheSt Across the back, under your arms and above the bust
Bust Around the fullest part of your bust
WaiSt Your natural waistline, around the slimmest part of your waist
Hips Around the fullest and widest part of your thighs and bottom
PATTERN MARKINGS Pleats: These lines are matched Arrows: Grainline arrows are used up to create pleats on the cut to show which direction to pin the out fabric pieces. pattern on the fabric. The grainline runs parallel to the fabric edge.
Darts: These lines are for matching up to create darts within the fabric pieces.
Notches: Shown as triangles or small lines, these are marked on the edges and are mainly used for matching up pattern pieces.
CHOOSING AND BUYING FABRICS IT’S IMPORTANT TO CHOOSE the correct fabric for your pattern. Most patterns give suggested fabric types that will work best with the style of garment. Use this to guide you as some patterns need more drape, body or structure than others. Fabric can be made from natural fibres such as cotton, linen, wool and silk or synthetic fibres such as acetate, acrylic, nylon, polyester, rayon and viscose. All these fabric come in different weights, or thicknesses, which suit different garments. Lightweight fabrics are ideal for lingerie, nightwear and summer clothing, and include cheesecloth, chiffon, crepe-de-chine, georgette, lawn, muslin, organdie, organza and voile. Medium-weight fabrics, which work for dresses, shirts, trousers and childrenswear, include calico, cotton, crepe, dupion, linen, poplin and finer wool. Heavy-weight fabrics are used for garments or projects needing more strength, like coats, jackets, winter wear and bags. Canvas, corduroy, denim, tweeds, velvet and wool are all in this category. Some patterns require fabrics that are quite fluid and have a good drape to make them hang properly, such as a circle skirt or blouse. Synthetic or synthetic mix fabrics such as rayon, challis, chiffon or lightweight jersey have a better drape to them. Stretch and knit fabrics such as jersey and lycra are virtually crease free and comfortable to wear. They
can be bought in a variety of thicknesses and qualities depending on their use but are ideal for sportswear and casual clothing. Interfacing gives an extra layer of support to your fabric – for example, to stiffen facings and collars. Choose an interfacing that’s slightly lighter than your main fabric, and if you’re using a fusible (iron-on) option then always test it on a scrap of the fabric first as it can melt if the iron is too hot. Interfacing is available in different weights and as an iron-on (fusible) or sew-in version. With fusible interfacing, press the shiny side to the wrong side of your fabric. Tack sew-in interfacing to the wrong side of the fabric pieces around the edges. If you’re buying fabric off a roll (or bolt) then you’ll usually buy it by the metre. This is only the length of the fabric you’re buying – the width depends on the width of the roll. Fabrics are sold in standard widths, which vary according to their purpose – for example, dressmaking or quilting fabric generally comes in standard widths of 112cm (44in) or 150cm (60in). Curtain or soft furnishing fabric is normally 137cm (54in) wide and is really useful for bags and aprons as it’s thicker and stronger than dressmaking fabrics. The fabric requirements on the pattern instructions will tell you what length of fabric to buy, usually with two width choices. Some patterns, such as large circle skirts, can only be cut from the wider fabrics.
MACHINE NEEDLES
There are many diferent needle types and they vary by the shape of the point, eye and shaft thickness. Choose the correct one for smooth stitching.
UniVeRsal A great multi-purpose needle which can be used for woven fabrics and has a slightly rounded point for stitching knit fabrics, too.
ShaRps With a sharp point, these are for sewing very fine and delicate fabrics and neat buttonholes.
QuiLting This will pierce multiple layers whilst keeping straight stitches so it is ideal for patchwork and machine quilting.
LeaTher Ball PoiNt This needle has a more rounded point than the universal needle so you won’t get snags, ladders or holes. Perfect for knit fabrics.
This needle’s wedge-shaped cutting point is used to work strong seams on non-woven fabrics like leather, suede and vinyl.
StrEtch JeaNs A strong needle, ideal for stitching several layers of fabric or tightly woven fabrics like denims.
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Designed for sewing two-way stretch knits such as lycra and silk jersey. It prevents skipped stitches on fine knit fabrics.
TopStItch This has an extra-sharp point and eye, so thicker topstitching thread can be used. It’s perfect for straight stitching with thicker threads on any type of fabric.
Twin Used for parallel rows of stitching such as pintucks and hems.
ONCE YOU HAVE FINISHED stitching your seam, it’s best to press it open on the wrong side so it lies flat. Sometimes it’s better to press it to one side to reduce bulk but the pattern instructions will tell you this. Usually the seam allowances are left as they are as they help to strengthen the seam, but sometimes they cause too much bulk so they are trimmed to half their original width. If your fabric has a tendency to fray you should neaten the raw edges after you have worked the seam. There are several ways of doing this. To machine-finish them, set your sewing machine to the zigzag stitch then stitch close to the raw edge all the way along. The zigzag must be small enough to stop the fabric from fraying but large enough to enclose the bulk of the fabric. Practise a few lengths and widths before you begin. Alternatively, you can trim the raw fabric edges with a pair of pinking shears. If you have an overlocker then you can stitch, cut and finish the seams all in one process.
UK SIZE
US SIZE
FABRIC
60
8
Silks
70
10
75
11
80
12
90
14
100
16
110
18
120
20
Lightweight fabrics Medium weight fabrics Medium weight fabrics Medium weight fabrics Heavy weight fabrics Upholstery fabrics/denim Heavy canvas
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FRESH IDEAS WITH FABRIC
The guide GLOSSARY
For a full glossary of sewing terms visit www.simplysewingmag.com
DraPe A term used to describe the way a fabric hangs under its own weight. Different fabrics have different drape qualities.
Ease The addition of extra fabric in a pattern to allow the finished garment to fit the body well.
EdgEsTitCh A row of stitching on the very edge of a garment, usually 2-3mm (1⁄16-1⁄8in) from the folded or seamed edge. Used to hold the fabric edge neatly in place.
FacIng This pattern piece is cut separately to stabilise and create a neat finish on the edge of a garment, such as the neckline.
fat QuaRter A term used to describe a cut piece of fabric often used for patchwork projects, usually measuring 46x55cm (18x22in).
FinIsHing/NeaTeNing raw EdgEs This is done to stop the fabric edges, particularly of a seam, from fraying. It can be done by machine zigzag stitch, using an overlocker or trimming the raw edge with pinking shears.
GraIn/GraInLine The lengthwise fabric grain, running parallel to the selvedge.
nap Fabrics like velvet, corduroy and fur have hairs or loops which all lie in one direction and are called the nap, or pile. When cutting out pattern pieces make sure the grainline arrow always runs in the direction of the nap.
NotIons Small tools or accessories used
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in sewing such as zips, fasteners, lace and buttons.
STITCH GUIDE Use these basic hand stitches to complete your home and dressmaking projects.
RigHt Side (rs) / WroNg Side (ws) The right side of the fabric, also called the ‘public’ side, has the design on it. The wrong side is the other side – this is usually a little duller or faded on plain fabrics.
Seam AllOwAnce The fabric between the raw or cut edge of the fabric and the seam is called the seam allowance. Your pattern will tell you the required seam allowance measurement. This is usually 1.5cm (5⁄8in) for dressmaking, but can vary.
SelVedge The finished woven edge of fabric, often with the fabric name printed on it. The grain runs parallel to this and the bias diagonally. Called selvage in the US.
StaYsTitChing A line of regular machine stitching usually worked 3mm (1⁄8in) inside the seam line, often used to stabilise curved edges to stop them stretching out of shape.
Tack/TacKing A line of temporary stitching used to hold fabric pieces together before machine sewing, worked in the same way as running stitch. Known as basting in the U.S.
TopStItcHing A line of stitching worked 5mm (¼in) from the folded or seam edge. Used to hold the seam in place and as a decorative finish.
UndErStiTcHing A line of stitching worked through the facing and seam allowance 3mm (1⁄8in) from the seam to stop the facing rolling to the outside of the garment. Understitching will not be visible on the outside.
LadDer StiTch Used to join together and close 2 3 5 two turned-under edges invisibly, such as on a dress lining or soft 1 toy. Bring the needle up at 1 on 4 one side of the seam, then in at 2 on the opposite side and out at 3, so the stitch is 3mm (1⁄8in) long. Push the needle back in the opposite side at 4 and out at 5. Repeat this to close the edges.
Slip StiTch This stitch is used most often for hems where you need to stitch 3 2 a turned-under edge to a flat 1 piece of fabric using small, almost invisible stitches. Bring the needle up at 1 on the turned-under hem then back in at 2 and out at 3. Make this horizontal stitch as small as possible so it can’t be seen from the front. Repeat this by making a vertical stitch back into the turned-under edge then continue in this way to complete the hem.
Whip StiTch Whipstitch is used to join the edges of two fabrics together, such as felt and other fabrics that don’t fray. With the right sides 2 1 together, bring your needle out at 1 on the front of the fabric, then over to the back of the other, and through and out at 2. Continue to work small stitches close together over the top of the two fabric edges.
RunNing StiTch This can be used to gather fabric and as a decorative stitch worked around the edge of a finished 4 3 2 1 project. Bring the needle out at 1, in at 2, then out at 3 and in at 4, and so on. Make the length of the stitches the same length as the gaps between them for an even finish. You can work several running stitches on your needle at once.
Easy-sew jumper Button-up skirt Quick scarf cape Metallic clutch bag Patchwork placemats Faux fur homewares Sweater refashion Sequin collar And more...
PLUS: D A BONU OWNLOAD S VERSIONDRESS !
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SKIRT SET FROM JENNIFER LAUREN HANDMADE
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* CONTENTS SUBJECT TO CHANGE. PAPER AND FABRIC GIFTS NOT AVAILABLE WITH DIGITAL EDITIONS.
my favourite thing
heart and home Sentimental fabrics make Elspeth Jackson's simple stripe rag rug cushion project a special keepsake piece. "Although I’ve made far more complicated rag rug pieces over the years, this simple shirt cushion is still one of my favourite creations. It’s nothing fancy, but it’s special to me. One of the things I love most about the rag rug technique is that it's the ultimate ecofriendly craft. You can transform any old clothing or fabric offcuts into something beautiful and unique for the home. Using fabrics that have a sentimental value – old baby grows, favourite dresses and school uniforms, for example – for a rag rug project imbues memories and feelings into the finished piece of homeware, which makes it truly special. This particular cushion was made using some of my grandad’s shirts and it always
98 WWW.SIMPLYSEWINGMAG.COM
makes me smile and think of him, although he’s no longer with us. As well as the sentimental attachment I have to this cushion, I also really enjoyed making it. The cushion's simple striped design meant that I could completely zone out and craft in the moment. Rag rugging doesn’t require complicated techniques as it’s quite repetitive and there’s very little you can do wrong, so it’s easy to be mindful and relax." Find this cushion pattern and learn how to rag rug with Elspeth’s book 'Rag Rugs, Pillows & More' (£12.99, CICO Books) which can be bought at www.raggedlife.com, and make a bouquet of beautiful rag rug hydrangeas with Elspeth's tutorial on page 63 of this issue.
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AUTUMN 2018
AVON • Direct Sewing Machines, Bristol – 0117 9778216
BEDFORDSHIRE • BSK Limited, Bedford – 01234 217096 • My Sewing Basket, Dunstable – 01582 969571 • Tudor Rose Patchwork, Oakley, Bedford – 01234 824983
BERKSHIRE • Sew Devine, Reading – 0118 926 8664
BUCKINGHAMSHIRE • Alans Sewing Machines, High Wycombe – 01494 527600
AMAZING ANNIVERSARY
OFFERS FROM £99
CAMBRIDGESHIRE • Sew Creative Ltd, Cambridge – 01223 350691 • Sew Much To Do, Ely – 01353 664 000
CHESHIRE • Allan Sheen Sewing Machines, Winsford – 01606 593554 • Jaycotts, Chester – 01244 394099 • J & P Sewing Machines, Warrington – 01925 633831 • Phil Morton Sewing Machines, Macclesfield – 01625 433131
MANCHESTER (GTR)
CORNWALL
MERSEYSIDE
• The Sewing Studio, Redruth – 01209 216942
• Affordable Sewing, Moreton, Wirr – 01516 777755
DERBYSHIRE • Elegance, Derby – 01332 382292 • Ilkeston Sewing & Janome Centre, Ilkeston – 01159 307664 • Sew Essential, Moira – 01283 210422
DEVON
• Bamber Sewing Machines, Manche – 01617 077786 • R. Bullock & Son Ltd, Wigan – 01942 247836
NORFOLK • Sew Creative, Norwich – 01603 3 • Sewing Machine World, Kings Lyn – 01553 773362
• Exeter Sewing Machine Company, Exeter – 01392 275660 • Soft Touch Needlecrafts, Tavistock – 01822 617673
NORTHUMBERLAND
DORSET
NOTTINGHAMSHIRE
• Bournemouth Sewing Machines, Bournemouth – 01202 424825 • Hansons Fabrics, Sturminster Newton – 01258 472698 • So N Sews, Weymouth – 01305 766411
• Cresswell Sewing Machines, Nottin – 01159 267572
ESSEX • Creative Lady, Burnham on Crouch – 01621 928225 • Franklins, Colchester – 01206 563955 & 574758 • Franklins, Chelmsford – 01245 346300 • Home of Sewing by Regent, Ilford – 02084 780669 • Superstitch Machine Co, Leigh on Sea – 01702 478830
GLOUCESTERSHIRE • The Patchwork Basket, Newent – 01531 822442 • West End Sewing Centre, Cheltenham – 01242 244025
HAMPSHIRE • Eastleigh Sewing Centre, Eastleigh – 02380 650808 • Hampshire Sewing Machines, Fareham – 01329 280499 • Reads of Winchester, Winchester – 01962 850950 • Sew Creative, Petersfield – 01730 858020
• The Sewing Box, Morpeth – 01670
OXFORDSHIRE • Witney Sewing Machine Centre, W – 01993 704535 / 702772
NEW MO
SHROPSHIRE • Sewing Machine Centre, Shrewsbu – 01743 343902
BRAND NEW
SOMERSET
OFFER
• Bredons Sewing Machines, Taunto – 01823 272450
MODEL GD8100
SUFFOLK • Franklins, Ipswich – 01473 221188 • Sew Much To Do, Bury St Edmunds – 01284 755459
SURREY
HEREFORDSHIRE
• All Surrey Sewing, Worcester Park – 02083 373444 • C & A Sewing Machines, Cranleigh – 01483 267777 • Woking Sewing Centre, Addlestone – 01932 352606
• Doughtys Fabric Warehouse, Hereford – 01432 353951
SUSSEX
HERTFORDSHIRE
• Clothkits Ltd, Chichester – 01243 533180 • Eclectic Maker, Worthing – 01903 681000 • Hastings Sewing Centre, Hastings – 01424 423108
• Chicks Embroidery, Letchworth – 01462 670007 • Rebecca Woollard Sewing School, Hatfield Heath – 07887 654717 • Rona Sewing Machines, Waltham Cross – 01992 640250 • Sewfine Sewing Machines, Watford – 01923 693734
KENT • Ashford Sewing Centre, Ashford – 01233 620948 • Barcham Sewing Centre, Whitstable – 01227 264271 • Maidstone Sewing Centre, Maidstone – 01622 670254 • The Sewing Space, Kent – 01303 261329 • The World of Sewing, Tunbridge Wells – 01892 533188
LANCASHIRE • Hobkirk Sewing Machines, Blackburn – 01254 693555 • Lestan Sewing Machines, Nelson – 01282 614511 • SA Sewing Machines, Oldham – 0161 6243181 • SA Sewing Machines, Rochdale – 01706 355529 • Transworld Sewing Machines, Leigh – 01942 608028
LEICESTERSHIRE • Cresswell Sewing Machines, Leicester – 07798 625 278 • The Sewing Café, Hinkley – 01455 698034
LINCOLNSHIRE • Couling Sewing Machines, Lincoln – 01522 521841 • L & C Fabrics, Cleethorpes – 01472 600874 • Seweezy, Gainsborough – 01427 614570
LONDON (GTR) • All Redgewell Sewing, South West London – 02083 373444 • Lewisham & Deptford Sewing Machines, Deptford – 02086 921077 • SM Sewing Machines Ltd, London – 02036 891222 • The Sewing Centre, Battersea – 02072 283022 • The World of Sewing, Pratts Bottom – 01689 638638 • Wimbledon Sewing Machine Co Ltd, Tooting Bec – 02087 670036
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£299
Easy to use... Make eth! e right choice first tim
TYNE & WEAR • G Tully Sewing Machines, Sunderland – 01915 65 7995 • Sewing Machine Sales, Whitley Bay – 01912 525825
WARWICKSHIRE • Coventry Sewing Centre, Coventry – 02476 222134
WILTSHIRE • Franklins, Salisbury – 01722 554466 • West Wilts Sewing Machine Co., Trowbridge – 01225 753792
WEST MIDLANDS • Brewers Sewing Machines, Wolverhampton – 01902 458885 • D C Nutt Sewing Machines, Walsall – 01922 497603 • Frank Nutt, Kings Heath – 01214 443978 • L & M Nutt, Sutton Coldfield – 01213 735497 • S Nutt Sewing Machines, Birmingham – 01213 272828
WORCESTERSHIRE • Creative Hands 2, Worcester – 01905 24940 • Inkberrow Design Centre, Redditch – 01527 69100
YORKSHIRE • Arcade Sewing Machines, Huddersfield – 01484 429808 • C & G Sewing Machines, Bradford – 01274 306352 • Electra (DA) Company, Doncaster – 01302 340369 • Fabric Mouse, Richmond – 01748 811593 • L & C Fabrics, Hull – 01482 325072 • Sewing Centre, Scarborough – 01723 363167 • White Rose Sewing Machines, Harrogate – 01423 503767
CHANNEL ISLANDS • Rachel’s Textiles Studio, Jersey – 01534 878877
ISLE OF MAN • Joan’s Wools & Crafts, Onchan – 01624 626009
IRELAND • Sew N Knit Belfast, Belfast – 02890 456015 • Sew N Knit Lisburn, Lisburn – 02892 670908 • Singer Sewing Centre, Ballymena – 02825 640034
SCOTLAND • Aberdeen Sewing Machines, Aberdeen – 01224 478555 • Abbey Sewing Machines, Dumfries – 013872 49580 • David Drummond, Edinburgh – 01315 397766 • ESC, Fochabers – 01343 823961 • Pembertons Sewing Machines, Stirling – 01786 462993 • Quilt Creations, Inverness – 01463 719369 • The Sew Studio, Dunfermline – 01383 621894
WALES • Butterfly Fabrics, Cardiff – 02920 470808 • Cliffords Sewing Machines Ltd, Swansea – 01792 655928 • J & B Sewing Machine Co Ltd, Cardiff – 02922 402418 • Newport Sewing & Craft Centre, Newport – 01633 284646 • Sewing Machines Direct, Wrexham – 01978 851235
The ‘Sewing with Style’ offers are available from Janome sewing machine retail outlets nationwide. Promotion starts 1st September until 2nd January 2018. (All offers subject to stock availability).
The world’s leading sewing machine manufacturer
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