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FRESH IDEAS WITH FABRIC This new year, we’re calling for a detox! And that means we’re decluttering our craft stash, tidying our sewing space, and organising our me-made wish-lists for the year ahead. We’re thinking practical everyday staples, quick-sew accessories and colourful weekend wear. If it’s not going to get worn, it’s not going to get sewn!

There’s something about sewing with a purpose that makes the whole process feel so much more enjoyable, right? Let’s get to it. Pop the kettle on, there’s a green tea with your name on it.

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ing g n a eh or Maknt pots ,f p18 pla home your ISSUE FIFTY ONE

FRESH IDEAS WITH FABRIC

CONTENTS

Sew The Set poloLauren dress, pneck 32

P18 ORIENTAL INSPIRED

grEat pAtterNs foR you

how To...

18 ORIENTAL TEA-TIME MAKES

40 WORKSHOP: MENDING ZIPS

32 PATTERN: THE LAUREN SET

Learn how to take out and replace a

36 REFASHION: MAKE A QUILTED

broken invisible zip in a lined dress

THROW INTO A JACKET 44 PATTERNLESS: TIE-WAIST SKIRT

54 KNOW YOUR: SEAM RIPPERS 81 EMBROIDRERY: CIRCLE STITCH

48 PATTERN: THE SICILY BACKPACK

Learn how and make a baby bib

55 FRINGED INFINITY SCARF 57 QUICK FIX: STITCHED JUMPER

83 TEMPLATES 89 SEWING GUIDE

62 UPCYCLE: T-SHIRT ACCESSORIES

Tips, techniques and

66 QUILTED SHOPPER BAG

a glossary

71 EASY CAFÉ CURTAIN 78 CUTE CRITTER PURSES

74

Swoon over coco & wolf's andmAde lIbertY fabRic wAres

Sew cute coin pur critter the kids, ses for p78

HapPy new Year!

Well, I can hardly believe it, but 2019 here we are. And what a great start this is going to be!

First up, there's a new n series of The Great British Sewing Bee − head over to our website to find out more. Then there's our Essential Guide to Dressmaking (p43), which we've specially designed as a handy pocket-size book − perfect for keeping next to your sewing machine. And whilst you're there, take inspiration from the experts (p58) to create your ideal sewing space. After all: tidy i ht? d k = tidy desk tid mind, i d right?

66 36 55

win £1000 WorTh of SewIng PriZeS!

Charlie Moorby, Moorby Editor

Three competitions to win fabrics, books and sewing accessories from Sewing Quarter, Simply Sewing and Vlieseline.

Turn to p14

9 PINBOARD: Ideas, events, new fabric 14 WIN: £1000 WORTH OF PRIZES! 43 PIN UP: SEWING GUIDE BOOK 52 COLUMN: LISA COMFORT 58 FEATURE: SEWING SPACES 65 PIN UP: T-SHIRT REFASHION 74 PROFILE: COCO & WOLF 92 BACK ISSUES TO COLLECT 97 COMING UP NEXT MONTH 98 MY FAVOURITE THING

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CONTRIBUTORS

A big thank you to this talented lot...

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 Dave Caudery and Philip Sowels

Call 0117 300 8206 SENIOR ADVERTISING MANAGER Penny Stokes SENIOR SALES EXECUTIVE Tiffany Jackson CLIENT PARTNERSHIP MANAGER Beckie Pring

my ation frogms.” ir p s in y “I get m day surroundin every MINKI KIM

Designer, self-taught sewist and author Minki is all about celebrating the beauty of everyday life, through stitches. Try your hand at her quilted shopper bag tutorial on page 66 and see more of her colourful work at www.minkikim.com

“I wanted to create a book that would empower makers!”

SUBSCRIPTIONS DIRECTOR Jacky Perales Morris SENIOR DIRECT MARKETING EXECUTIVE Kate Jones HEAD OF NEWSTRADE MARKETING Natalie Shearer NEWSTRADE MARKETING MANAGER Helen Seymour Paul Torre, Karen Flannigan

JENNIFER POL COLIN

A native of France, Jennifer runs Little Print Fabrics Studio in San Diego, California, where kids and grown-ups love to come and sew creatively. Find her coin pouches DIY on page 78 and see more of her work at www.mylittleprintfabrics.com

U

PRODUCTION COORDINATOR Derrick Andrews PRODUCTION MANAGER Sîan Rodgers / Emma McGuinness PRODUCTION DIRECTOR Sarah Powell

DIRECTOR OF INTERNATIONAL LICENSING & SYNDICATION MANAGER Tim Hudson tim.hudson@immediate.co.uk INTERNATIONAL PARTNERS MANAGER Anna Brown anna.brown@immediate.co.uk

PUBLISHER Liz Taylor CHIEF EXECUTIVE OFFICER Tom Bureau GROUP MANAGING DIRECTOR Andrew Gabriel MANAGING DIRECTOR, BRISTOL Andy Marshall

FRONTLINE Call +44 (0)1733 555161

BY WILLIAM GIBBONS

“I haven’t been one to follow trends, I follow my heart!”

AMY HEMMINGS-BATT

We chat with Amy, the founder and creative force behind Liberty-print lifestyle brand Coco & Wolf, about small beginnings, how to deal with ‘copiers’ and why, sometimes, no plan is a good plan! Read more on page 74.

“See what I’ve been makin www.schlosserdesigns.comg at ” ERIN SCHLOSSER

Designer Erin’s love of sewing began back in elementary school. She now teaches workshops, designs projects for sewing machine companies and creates her own sewing patterns. Try her easy-to-make café curtain tutorial on page 71.

EDITORIAL TEAM simplysewing@immediate.co.uk SUBSCRIPTIONS TEAM simplysewing@buysubscriptions.com 03330 162 149

THURSDAY 24TH JANUARY 2019 No gift included? Ask your newsagent.

Covergift may be unavailable overseas.

OTHER CONTRIBUTORS Daisy Braid, Lisa Comfort, Sarah Dawson, Jessica Entwistle, The Fold Line, Sarah Gane, Debbie von Grabler-Crozier, Mollie Johanson, Anna Johnson, Portia Lawrie, Molly Price, Rebecca Reid, Lana Red Studio, Angela Umpleby 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 28 December 2018 - 31 January 2019.

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Immediate Media Company Bristol Limited (company number 05715415) is registered in England and Wales.

The registered office of Immediate Media Company Bristol Limited is at Vineyard House, 44 Brook Green, London W6 7BT. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Immediate Media Company Bristol Limited cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Immediate Media Company Bristol Limited a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk. Although every care is taken, neither Immediate Media Company Bristol Limited nor its employees agents or subcontractors shall be liable for loss or damage.

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TWELVE

EXTRAS DIY JOURNALS STITCHABLE TRAVEL POSTCARDS ORIGINAL PRINTS BESPOKE BOOKPLATES

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Send a unique greeting with stitchable postcards

Personalise your library with modern bookplates

Release your creativity with cloud-themed doodling

Decorate your home with exclusive art prints

Make and bind two beautiful journals from our papers

ORDER YOUR COPY TODAY O R D E R O N L I N E W W W. B U Y S U B S C R I P T I O N S . C O M / C R A F T S P E C I A L O R CA L L 03 3 3 0 16 2 13 8 A N D QUOT E ‘CA L M 1 2 P R I N T 1 ’ Lines open weekdays 8am to 6pm and Saturday 9am to 1pm. Overseas please call +44 (0) 3330 162 138. * EUR price £11.99, ROW price £12.99. All prices include P&P. Please allow up to 28 days for delivery.

IDEAS

INSPIRATION

ACCESSORIES

WEBSITES

EVENTS

STUFF

FEMININE FORCE

Frocks and frills go hand-in-hand, but when faced with a simple, elegant and timeless design – such as those in Papercut Patterns’ minimalist Geo pattern collection – we can’t help but fall just a teensy bit in love! With a nod to the satin skirt trend, go bigger and better with the dreamy Ravine Dress. This bias-cut dress features a high neck, plunging V-back and a waist tie for a feminine silhouette. See the collection at www.papercutpatterns.com Subscribe at www.simplysewingmag.com

WWW.SIMPLYSEWINGMAG.COM 9

GIRLPOWER Who rules the W

world? Girls – with an ethically sourced, beautiful Belo bag at her side. Maria and Char, the dream team behind Belo, design gorgeous handbags to both empower women and look after the planet.

Made from plastic bottles, leather and fabrics saved from landfill, Belo's chic, covetable designs are elegant accessories with a conscience.

With that in mind, it would be rude not to support their cause…

From £15, www. frombelo.com

ModErn ClaSsic

Casual, comfy and made for curves, the Pembroke Dress and Tunic is the wardrobe essential we’ve been waiting for! With an oh-so-flattering shape, chic waist tie and modern split hem, this fashionable frock will soon be one of your most treasured memades. Find it at www.cashmerette.com

FABULOUSFORTIES

Step back in time and into a gorgeous frock from the 1940s with Folkwear’s stunning 247 Lindy Shirtdress. With timeless style and a flattering fit, this vintage-look pattern features stunning detailing, including an unusual bodice construction, shoulder and waist pleats and darts. Stay true to the classic 1940s look with a classic floral print or pick a modern geometric fabric for a daring design. Go to www.folkwear.com

RIGHT AS RAIN

There aren't many things that make us wish for a bit of thunder and lightning, but Cloud9’s gorgeous new collection of Matte Laminate fabrics has us hoping for rain! Featuring organic cotton prints in an easy-clean PU laminate coating, including geometric triangles, painterly florals, sweet animals, and – our favourite print – Lemons on Repeat, to don on rainy days, you’ll be wishing for those April showers to come early. Perfect for sewing quirky umbrellas, cute raincoats for little ones (and yourself!), fun shower caps, vibrant toiletry bags, tablecloths and more, the Matte Laminates collection is sure to go down a storm. www.cloud9fabrics.com

10 WWW.SIMPLYSEWINGMAG.COM

Keep dry (and stylish!) with Cloud9's new Matte Laminates collection.

Pinboard

MODERN ART QUILTS: DESIGN, FUSE & QUILT-AS-YOU-GO Sue Bleiweiss (£22.99, C&T Publishing) If you’re looking for a new challenge, take a leaf out of Sue Bleiweiss’ book and fuse a modern quilt. You’ll learn the principles of designing and creating quilts, with seven projects to introduce you to fusing fabrics. Sue also spills the secrets on dyeing fabric and the quilt-as-you-go method. www.ctpub.com

mini profile ANNA PAVLOVNA Anna, one of the three masterminds behind Anna Pavlovna, grew up in a family where every woman was taught to sew. As part of her childhood, Anna would sew clothes for her dolls and make small things for the family home with her mother, and she and her grandmother would spend time together indulging in a spot of embroidery. With a background filled with textiles, it's unsurprising Anna decided to pursue a career in cloth, launching a now-thriving business creating handmade toys and teddy bears.

Anna works together with Katherine and Anastasia to create hand-crafted toys, PDF sewing patterns and DIY toy kits – but their main passion is crafting teddy bears. Made entirely from traditional and natural materials, their collection includes adorable bears, loveable elephants and delightful piglets, all wrapped up in hand-sewn bobble hats and woolly scarves. Inspiration for new designs often comes from family and close friends, with the teddy bears named after baby nieces and nephews, young cousins or their friends’ children. Each design is created with patience and love, and made to be treasured. “We don’t follow trends. To create a toy collection that can live from generation to generation is what really matters,” Anna smiles.

Anna’s working day is one that many would cherish, spending the main part of her day in the workshop. “It’s my happy time,” Anna

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confesses. “I love watching how, as the different details are joined together, the designs become living characters.” Though she relishes her time spent sewing, she admits that there is a lot to get done. Her dedicated team work hard to help the business succeed, especially during the Christmas period, when time management is key. Anna reveals that the secret to the success of her business is patience and hard work. “If you have been unsuccessful ten times, the 11th try will be your chance,” Anna enthuses.

As Anna prepares for a New Year, she can’t help but think of the future and where she wants her business to go next. “Our main goal for the future is to organise a teddy bear club.

We’ve been trying to educate people about creating their own toys. We want to share our love of the craft and show people that it’s not as difficult as they think." For now, Anna is doing all she can to inspire new generations with her kits – and, with teddies this cute, we can’t think of a better gift for a crafter. In fact, we might just treat ourselves to one, too!

Visit www.annapavlovna.etsy.com

“We don’t follow trends. To create a toy that can live from generation to generation is what matters.”

I LOVE MY DOG EMBROIDERY Oksana Kokovkina (£12.99, Quarto Publishing) Animal lovers, assemble.

You might say we’re barking, but we just can’t wait to get our hands on this book of 380 dog-themed stitch motifs by embroidery artist MakikoArt and six others. The book comes complete with project ideas, how-tos and templates – pawfect! www.quartoknows.com

CRAFTFULNESS Rosemary Davidson and Arzu Tahsin (£12.99, Quercus Books) Us crafters know the delight of taking a moment, or two, to indulge in the handmade.

Craftfulness celebrates the benefits that crafting has on mental wellbeing and aims to equip its readers with a handful of tools to combat stress through its satisfying yet simple projects. www.quercusbooks.co.uk

SEW CREATIVE Jennifer Pol Colin (£14, FunStitch Studio) Get the next generation of stitchers excited about sewing with these fun projects little ones will love, from a mermaid tail blanket to a chalkboard backpack and neck pillow for travelling. All 13 of the book's makes are endlessly customisable with trims, appliqué and embroidery, so get your little one involved in choosing the design. Psst!

Make a set of cute critter coin pouches from the book on page 78. www.ctpub.com

WWW.SIMPLYSEWINGMAG.COM 11

LEARNING CURVE Embroidery hoops W

are a trend that’s here to stay – and what’s not to love about these sweet little stitched artworks?

And, whether you're looking for your first embroidery project or a speedy stitch, this kit is sure to have you reaching for your sewing needle. With painterly florals and botanicals aplenty, the Black Wildwood Embroidery Kit has fabric pre-printed with the design ready for you to stitch, plus full instructions and threads. £20, www. giftsforagirl.co.uk

the a-Team

We’re making a beeline for Sew Over It’s new Ava A-line skirt pattern! With shaping darts at the front and back, a narrow waistband, in-seam pockets and two hem lengths, you’ll have work, weekend and party sorted! Choose ditsy florals for a casual look and bold brights for evening glam. Plus, with only four pattern pieces, Ava is the perfect starter project for beginners. PDF £7.50, www.sewoverit.co.uk

JUMPFORJOY

We’ve found a jumpsuit pattern that’s sure to put a spring in your step (and your sewing!). With a flattering wide leg and a high waist, the Rachel Jumpsuit and Trouser pattern is a must-make. We love the idea of hitting two trends in one and opting for a winter tweed or herringbone (in true Clueless style), or choose silky satin for an evening soirée.

And it includes a trouser option that's ideal for workwear! PDF pattern approx £10 from www.athinakakou.com

3 of the best COLOUR-BLOCK

Go bold with modern colour-blocking – it’s the perfect cure for those winter blues.

1. With bold geometric patterns and playful colour combinations, these vibrant cushions will keep your home looking fresh year-round. £96 for a set of four from www.sparrowandwolfshop.etsy.com 2. Ideal for adding a subtle splash of colour, these cute pink and orange crochet b skets are the perfect size for storing easily misplaced sewing supplies. £22 from www.emilysianhart.etsy.com

Dressy Talk

PATTERNS

Loose fit long sleeve asymmetrical shirtdress INTERMEDI

Sizes: 42-52 Height: 164 cm

3. Choose daring colour combinations or play it cool with subtle hues to make Dressy Talk’s colourblocked shirtdress design. PDF pattern approx £9 from www.dressytalk.com

12 WWW.SIMPLYSEWINGMAG.COM

Dress Printable Sewing Pattern

Design #3103

shop.dressytalk.com

Pinboard Tool up

New year, new tools! Give your stitching sessions a boost with these sewing kit must-haves.

STRIKE A POSE! Trend Patterns’ autumn-winter collection has launched, and our fingers are itching to get stitching! The collection includes updated favourites as well as stunning new patterns to fall in love with. We’re a sucker for a good pair of trousers, and the updated Utility Trousers have us all in a flutter. See the full collection at www.trendpatterns.co.uk

alL tieD up

Like a work of art and fashion accessory all in one, Wilful North’s quirky scarves, illustrated by founder Holly Picthall, are just the thing for finishing a me-made outfit. Made in the UK and featuring bright hues and eccentric hand-drawn illustrations, these unique silk scarves have us well and truly swooning. See the range at www.wilfulnorth.com

SKILLS, SHOWS & EVENTS 14-16 FEBRUARY 2019 Craft4Crafters, Westpoint, Exeter.

A weekend of classes, demonstrations and the chance to stock up on new sewing supplies. www.craft4crafters.co.uk

Simple Circular Weave Workshop. Ocean Studios, Plymouth. Learn to weave using a circular frame and a variety of yarns, ribbons and fabric scraps. www.jessandbecky.com

UNTIL 28 APRIL 2019 A Personal Collection of Vivienne Westwood Shoes. York Castle Museum, York. With each pair chosen for their beauty, innovation and artistry, this display of Westwood shoes is sure to inspire. www.yorkcastlemuseum.org.uk

UNTIL AUGUST 2019

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TO THE POINT Crisp corners are what dressmakers’ dreams are made of! Get yours with this stylish bamboo turner. £3.50 from www.merchant andmills.com

out & about

20 FEBRUARY 2019

British designer Holly Picthall hopes her colourful silk scarves become "modern heirlooms."

GO GREEN Invest in a leather drawstring pouch for storing craft supplies on the move. Approx £30, www.handsonworkshop.com.au

The Embroidered Home. Hampton Court Palace, Richmond. See beautiful embroidered home textiles from the 19th and 20th centuries. www.royal-needlework.org.uk

SHINE BRIGHT What’s pink, shiny and a must-have for every dressmaker?

Tula Pink's shears, of course! £49.99 from www.sewing quarter.com

POT OF GOLD Keep those pesky sewing supplies in one place with this giant thimble pot in shimmering gold or silver. £10.90, www. redcandy.co.uk

MADE TO MEASURE A mannequin that can be adjusted to your very own measurements – say what? Yep, we’re never leaving our sewing spaces ever again… £139.99 from www. sewingquarter.com

£500 sewing quarter prizes Win a whopping £500 worth of designer fabric bundles, charm packs and pre-cuts hand-picked from Sewing Quarter. ffe n Ka o m s itt char ur m ective o y it. oll Get ’s C Spir t e t e e r Fass om F s fr k c a p

0 0 5 £ win of worthcs! fabri

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The Cot 20 cottontage Collection from T fat quarter : ilda wor s th £45!

eeping your sewing stash full of exciting and new fabrics can be time-consuming − and costly! We’ve got a bumper bundle of designer fabrics worth over £500 to be won. Our friends over at Sewing Quarter have hand-picked this colourful collection (there’s hundreds of designs included!) in a variety of pre-cut sizes, from fat quarters to 10” charm packs, and they’ve even thrown in one of their limited edition pin badges. To be in with a chance of winning, enter at www.simplysewingmag.com and head over to www.sewingquarter.com to browse fabrics, haberdashery, patterns, sewing tools and more!

Prize from Frincludes fabric Kaffe Fa eeSpirit, Tild s a ssett an d Moda , !

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comp titions s ’ r a e y a f o h t r wo ines! magaz

WIN A free SUBSCRIPTION Win a year’s subscription to Simply Sewing plus prize bundle, worth £193! very sewist needs their monthly dose of inspiration. So how would you like to receive a copy of Simply Sewing through your letterbox, every month? We’ve got an annual subscription for one lucky reader to win − plus this colourful bundle of sewing goodies hand-picked by the editorial team at Simply Sewing HQ. It includes Kaffe Fassett’s beautiful Bold Blooms book and 1.5m of his bold floral fabrics to get you inspired. Plus, there’s a roll of 11 dreamy candy-shaded felts from House of Alistair, a handy Summer Loft collection of Gütermann threads (seven reels in total), a Dashwood fat quarter bundle and a cute pack of Trimits bright buttons. This curated collection of sewing prizes would be dream post for any sewist, but it would make an equally great gift for a friend – especially if you were introducing them to sewing! For your chance to win this amazing prize bundle (and a whole year’s worth of magazines) enter at www.simplysewingmag.com, where you’ll also find heaps of tutorials to get you inspired.

win Vlieseline MUST-HAVES

over £300 w o of prizerth to win!s

Your chance to win Vlieseline goodies and Hemline shears worth £104. e’ve got an amazing bundle of 12 different pre-packed Vlieseline products and a pair of Hemline Pinking Shears to give away...for three lucky winners! These sewing essentials will guarantee you’re never left fumbling around for Wundaweb to take the kid’s trousers up before school (we’ve all been there) ever again! There’s everything from Seam Tape and Stretch Fix to Fuse n Tear − not to mention an entire roll of everyone’s favourite, Bondaweb (worth £23 on its own!). Plus, there’s a useful pair of pinking shears thrown in for good measure. Your new sewing stash will be the envy of all your friends with this superb bundle of goodies. Enter today at www.simplysewingmag.com and find out more about the full collection of Vlieseline products at www.vlieseline.com. For stockist information contact Lady Sew and Sew (www.ladysewandsew.co.uk) and Six Penny Memories (six-penny.com).

See www.simplysewingmag.com to enter both today! (UK only, see competition rules on p6.)

Subscribe at www.simplysewingmag.com

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dining accessories

Oriental fusion Give your dining room an Oriental twist with colourful accessories in Japanese-inspired prints.

Designers: JESSICA ENTWISTLE Styling: LISA JONES Photography: PHILIP SOWELS

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Cork BoaRds These are memo boards, but not as you know them! Cover three cork mats in coordinating fabrics for pinning to-dos, shopping lists, notes and the kids' latest masterpieces – or just hang them as wall art and hide away the push pins! All it takes to make them is a little glueing and hand-sewing.

CoaSters Putting our precious fabric scraps to good use is on our list of New Year's resolutions – starting with these cute coasters. We've used a few different prints for an eclectic, mismatched look. The best thing about making them? You'll be a pro at mitred corners after sewing up this simple set.

dining accessories

ChaIr CusHion Doesn't this cushion look oh-so inviting to sit on? It's made with a patchwork of plump filled sections for the comfiest of tea times, and can be sized to fit any chair – in fact, we'll be making one for our sewing chair as well.

HanGing PlaNt pot Nothing spruces up a room like adding a little bit of greenery, so try a new way to showcase your favourite fronds with this hanging plant pot holder. It features a secure webbing strap to hang it by, but it could also be made without the strap to display on a shelf, too.

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dining accessories

tea StoRage PouCh We're taking our love of a good cuppa to a whole new level with this tea bag storage pouch! With six sections to fill with your blends of choice, it's just the thing for popping in your travel bag for weekends away.

PatChWork TabLe RunNer Every dining table needs a centrepiece, and what better centrepiece than this contemporary runner? Made up of simple squares pieced together to create a unique diamond design, it's ideal for patchwork newbies.

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dining accessories 01

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Chair Cushion YOU WILL NEED

Q Patchwork fabrics: 15x30cm (6x12in) each of eight different fabrics Q Contrast fabric: 70x50cm (28x20in), for the backing and ties Q Puff backing fabric: 55x55cm (22x22in), plain cotton Q Polyester fibrefill Q Matching thread Q Basic sewing kit

CUTTING OUT

JOINING THE SECTIONS

Step one Cut each of the patchwork fabrics into two squares measuring 15x15cm (6x6in) each to create sixteen squares in total for the patchwork section fronts.

Step two Cut the backing fabric into sixteen squares measuring 12x12cm (4¾x4¾in) each for the patchwork section backs.

Step three Cut the contrast fabric into: Cushion back: 42x42cm (16½x16½in).

Ties: four strips 6x30cm (23⁄8x12in) each.

Step one Lay the sections out flat with right sides (RS) up into four rows of four sections in your chosen arrangement, alternating fabric prints.

Step two Take two adjacent sections from the top row and place them RS facing then stitch together down the side. Press the seam open. 03 Step three Stitch the other sections in the top row together in the same way to complete the row.

Step four Repeat to assemble the remaining rows.

Step five Stitch the top row to the second row RS together, matching the seams for a neat finish.

Step six Join the third and fourth rows below the second to complete the patchwork piece. 04

MAKING THE SECTIONS FABRICS USED The fabrics used are from the Kimono collection by Makower. For stockists visit www.makoweruk.com NOTE Q Use a 1cm (3⁄8in) seam allowance unless otherwise stated.

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Step one Take one of the patchwork section front pieces and mark the centre of each of the four sides with a pin.

Step two Place this wrong sides (WS) together with one patchwork section back piece and pin the two pieces together at each of the corners, matching raw edges.

Step three The front is bigger than the back to create the puffed effect, so you need to make a pleat at each of the centre pin marks to make the front fit the back exactly. Pin the pleats into place to the back. 01 Step four Stitch the front to the back all the way around using 5mm (¼in) seam allowance. 02 Step five Repeat this to make all the patchwork sections in the same way.

STUFFING THE SECTIONS Step one Turn the patchwork over to the WS and cut a small slit down the centre of the back of one of the sections. Use small sharp scissors for this or a seam ripper. The cut only needs to be about 5cm (2in) so that it doesn’t go into the seams.

Step two Stuff the section through this slit. You need to use enough to fill out the section, but it should be squishy rather than overstuffed. 05 Step three Cut and stuff all the sections, using the same amount of fibrefill in each one.

Step four Close the cut slit in the back of each section by hand using ladder stitch just to hold it closed, but not overlapping the fabric edges. 06

dining accessories 03

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MAKING THE TIES Step one Fold one tie in half lengthways with WS together then open out and fold the long edges over to the WS to meet in the centre and press.

Step two Fold one short edge over by 1.5cm (5â „8in) to the WS then fold the whole strip in half lengthways and press. Topstitch around all edges to neaten and hold the folded edges in place. 07 Step three Repeat these steps to make the other three ties.

For an even more colourful cushion, try adding a pom pom or tassel trim.

ASSEMBLING THE CUSHION Step one Pin two ties RS together then place them, matching raw edges, at the top edge of the patchwork cushion front. They need to be placed in the correct position to tie round your chair back so place the patchwork on the chair to mark this.

Pin the other pair of ties in position too.

Step two Pin the ends of the ties to the centre of the patchwork so that they don’t get caught in the seams. 08 Step three Place the cushion back and patchwork front RS facing then stitch together all the way around, encasing the tie ends as you go. Leave a 10cm (4in) turning gap in the centre of one side.

Step four Turn the cushion RS out then fold the edge of the turning gap to the inside and press so the seams lie right on the edge.

Step five Slip stitch the gap closed to finish.

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dining accessories 01

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Table runner YOU WILL NEED

Q Patchwork fabrics: 12x48cm (5x19in) each of eight different fabrics Q Contrast fabric: 100x100cm (39x39in), for the backing Q Wadding: 100x100cm (39x39in) Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Kimono collection by Makower. For stockists visit www.makoweruk.com Koi. Ref: 2044/Q; Blossom Tree. Ref: 2043/R; Hexagon Patch. Ref: 2049/Q; Maple Leaves: Ref: 2048/Q; Purple Lattice. Ref: 2050/L; Cream Lattice: Ref: 2050/Q; Gold Lattice: Ref: 2050/G; Cranes: Ref: 2047/R. NOTE Q Use a 1cm (3⁄8in) seam allowance unless otherwise stated.

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CUTTING OUT Step one Cut each of the patchwork fabrics into four 12x12cm (4¾x4¾in) squares to create 32 squares in total for the patchwork front.

the corners out carefully.

Step six Fold the edges of the turning gap to the inside and pin together then press the patchwork all over, ensuring the seams lie right on the edge.

MAKING THE PATCHWORK

QUILTING THE RUNNER

Step one Arrange the cut squares right side (RS) up on a flat surface, positioning as shown. Ensure none of the same fabrics are touching. 01 Step two Join the squares RS together and side by side one row at a time. Keep the rows in order as you work. Press all seams open.

Step three Sew each row RS together to finish the patchwork front. Press the seams to one side. 02

Step one Topstitch all the way around the edge through all layers, 5mm (¼in) from the edge to neaten the edge and close the turning gap.

Step two Quilt the three layers in your preferred pattern. You could stitch in the ditch through the seams, stitch 5mm (¼in) either side of the seams, or work decorative stitching in each square. 04

ASSEMBLING THE RUNNER Step one Lay the wadding out then place the backing fabric RS up on top and smooth out.

Step two Place the assembled patchwork RS down centrally on top of the backing fabric, smooth out and then pin together all the way around.

Step three Stitch the three layers together 5mm (¼in) inside the raw edges. Start and finish at one of the two square sides, leaving a 15cm (6in) turning gap in the centre of this side.

Step four Trim the wadding and backing fabric level with the edge of the patchwork. Clip the outer corners and snip into the inner corners. 03 Step five Turn RS out through the gap and push

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Coasters

YOU WILL NEED

For one coaster: Q Main fabric: 10x10cm (4x4in) Q Contrast fabric: 10x10cm (4x4in) Q Binding fabric: 6x50cm (23⁄8x20in) Q Wadding: 10x10cm (4x4in) Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Kimono collection by Makower. For stockists visit www.makoweruk.com Koi. Ref: 2044/Q; Blossom Tree. Ref: 2043/R; Hexagon Patch. Ref: 2049/Q; Maple Leaves. Ref: 2048/Q; Purple Lattice. Ref: 2050/L; Cream Lattice.

Ref: 2050/Q; Gold Lattice. Ref: 2050/G; Cranes. Ref: 2047/R. NOTE Q Use a 1.5cm (3⁄8in) seam allowance unless otherwise stated.

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ASSEMBLING THE FABRICS Step one Place the contrast fabric square right side (RS) down on your work surface with the wadding on top, then place the main fabric square RS up on top of the wadding.

Step two Staystitch the three layers together 5mm (¼in) in from the raw edge, ensuring all of the raw edges align.

BINDING THE COASTER Step one Fold one short end of the binding fabric strip under by 1cm (3⁄8in) to the wrong side (WS).

Step two Pin this turned-under end on top of the main fabric square in the centre of one side, matching the raw edges.

Step three Starting 1cm (3⁄8in) along from this centre point, stitch the strip to the coaster but stop stitching when you reach 1.5cm (5⁄8in) from the end and backstitch to secure.

FOLDING THE MITRED CORNERS Step one Take the coaster out from under your sewing machine and fold the strip upwards so it makes a 45-degree angle at the corner. 01 Step two Hold this in place then fold the strip back down so the top folded edge is now level with the top edge and pin into place. The rest of the strip should be RS together down the next side to be sewn, with raw edges matching.

Step three Starting at the top, stitch all the way down the side until you reach 1.5cm (5⁄8in) from the end, then repeat the corner folding you did before to achieve the same mitred finish. 02 Step four Fold and stitch each corner in the same way to produce four mitred corners.

Step five When you are just about to reach the turned-under starting end, trim the end of the binding so it overlaps it by 1cm (3⁄8in).

Step six Stitch the remainder of the binding strip across the overlapped ends. 03

FINISHING THE BINDING Step one Clip a small triangle off the corners of the coaster, just outside of the staystitching (not the binding) as this will help to reduce unnecessary bulk when the binding is folded back over.

Step two Fold the binding over to the contrast fabric side and turn the raw edges over so they just cover the line of machine stitching.

Step three Make diagonal folds to mitre the corners on the back and then press and pin them into place. 04 Step four Slipstitch the binding into place, joining the mitred corners together as you go, on both sides of the coaster.

Step five Stitch the overlapped short ends in place with small, neat hand stitches so they are securely attached to the binding.

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dining accessories Plant holder

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YOU WILL NEED

Q Main fabric: 35x65cm (14x26in) Q Contrast fabric: 35x75cm (14x30in) Q Wadding: 35x65cm (14x26in) Q Webbing: 3.5cm (13⁄8in) width x 1m (1yd) Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Kimono collection by Makower. For stockists visit www.makoweruk.com Main fabric: Blossom Tree. Ref: 2043/R. Contrast fabric: Cream Lattice. Ref: 2050/Q. NOTE Q Use a 1cm (3⁄8in) seam allowance unless otherwise stated.

CUTTING OUT Step one From the main fabric cut: Outer: two pieces 31x33cm (12¼x13in) each.

Step two From the contrast fabric cut: Lining: two pieces 31x33cm (12¼x13in) each.

Hanging loops: two pieces 8x8cm (31⁄8x31⁄8in) each.

MAKING THE HANGING LOOPS Step one Fold one of the hanging loop strips in half right sides (RS) facing. Sew together down one long edge.

Step two Turn the strip RS out and press with the seam laying down the centre of the back.

Step three Fold the strip in half widthways, matching raw edges with the seam on the inside, then stitch together 5mm (¼in) from the raw edge to make a loop.

Step four Repeat to make the other hanging loop.

MAKING THE OUTER Step one Pin each of the main fabric outers RS up on top of the wadding and stitch them to the wadding all the way around using a 5mm (¼in) seam allowance. Alternatively, you could use fusible wadding and press each one into place.

Step two Place the two outers, with wadding attached, RS facing and stitch together down the 31cm (12¼in) sides and across the 33cm (13in) bottom. Press the seams open.

Step three With the fabric still wrong sides (WS) out, cut a 5cm (2in) square in each of the bottom corners. 01 Step four On one side, match the central fold line to the centre of the seam and pin together to form the corner. Stitch across the corner. 02 Step five Repeat on the other corner.

MAKING THE LINING Step one Place one hanging loop on top of the RS

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of one of the lining pieces. Position the top edge of the loop 3cm (1¼in) down from top of the left side and matching raw edges. Tack into place.

Step two Repeat to tack the other hanging loop on the opposite side of the inner body 3cm (1¼in) down from the top right edge. 03 Step three Place the two lining pieces RS together then stitch together down the side and across the bottom, but leaving a 10cm (4in) turning gap in the centre of the bottom seam. Once sewn, press the seams open.

Step four With the fabric still WS out, cut a 5cm (2in) square in each of the bottom corners.

Step five On one side, match the central fold line to the centre of the seam and pin together to form the corner. Stitch across the corner.

Step six Repeat to fold and stitch across the corner on the other side.

ASSEMBLING THE PLANT HOLDER Step one Turn the pot outer RS out and place inside the pot lining so they are RS together. Pin together, matching the side seams.

Step two Stitch together all the way around the top edge to join the two pieces. 04 Step three Turn RS out through the gap in the lining then fold the edges of the turning gap to the inside and press. Slip stitch the gap in the lining closed.

Step four Push the lining inside the outer so the seam is laying right at the top then topstitch all

the way around the top edge, using a thread colour to match the lining.

Step five Turn the top edge of the pot over by 5cm (2in) to form a cuff so that the top of the hanging loops are at the top of the pot.

Step six To hold the cuff in place, stitch it down at each side through both the outer and lining side seams by machine, or, alternatively, hand-stitch it using small, neat stitches.

Step seven Thread each end of the cord through the loops and knot to hold. You can trim the cord down to a length suited your plant and the area you want to hang it in if necessary.

Step eight Put your plant inside and hang the plant pot from the top of the cord.

dining accessories tea storage pouch

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YOU WILL NEED

Q Main fabric: 30x20cm (12x8in) Q Contrast fabric: 40x20cm (16x8in) Q Medium-weight iron-on interfacing: 30x20cm (12x8in) Q Button Q Narrow elastic 20cm (8in) Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Kimono collection by Makower. For stockists visit www.makoweruk.com Main fabric: Hexagon Patch. Ref: 2049/Q. Contrast fabric: Cream Lattice. Ref: 2050/Q. NOTE Q Use a 1cm (3⁄8in) seam allowance unless otherwise stated.

CUTTING OUT Step one From the main fabric cut out the following pieces: Outer: 15x18cm (6x71⁄8in).

Bottom pocket: 12x18cm (4¾x71⁄8in).

Step two From the contrast fabric cut out the following pieces: Lining: 15x18cm (6x71⁄8in).

Top pocket: 12x18cm (4¾x71⁄8in).

Middle pocket: 12x18cm (4¾x71⁄8in).

MAKING THE POCKETS Step one Fold the top pocket fabric piece in half lengthways with right sides (RS) out and press.

Step two Topstitch along the top folded edge to neaten it.

Step three Repeat this to fold and stitch the middle and bottom pockets in the same way. 01

ATTACHING THE POCKETS Step one Press interfacing to the wrong side (WS) of the contrast fabric lining piece.

Step two Place the lining RS up and then draw a horizontal line across it positioned 3.5cm (13⁄8in) up from the bottom raw edge.

Step three Draw another line 5.5cm (2¼in) up from the bottom edge.

Step four Lay the bottom raw edges of the middle pocket with the raw edge facing towards the top of the lining, on top of the lower drawn line.

Step five Stitch this into place using a 5mm (¼in) seam allowance. 02 Step six Repeat this process to lay the raw edges of the top pocket on the upper drawn line and stitch in place.

Step seven Fold the top pocket upwards and press it in place. Stitch the bottom edge of the pocket in place 5mm (¼in) up from the seam to enclose the

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raw edge between the stitchng and the seam.

Step eight Repeat this to fold upwards and stitch the middle pocket into place. 03 Step nine Place the bottom pocket on top of the lining and attached pockets, matching the bottom and side raw edges. Tack into place.

Step ten To divide the pockets in half, simply stitch vertically up through the centre of all three of the pockets.

ADDING THE LOOP CLOSURE Step one Press interfacing to the WS of the main fabric outer piece.

Step two Fold the elastic in half so there is a loop at one end.

Step three Place it on the centre of the RS of the outer piece on the left short edge. Pin into place.

Test to make sure it’s the correct length to go around the button when sewn to the outer later by looping it around and adjust if necessary.

Step four Stitch the loop into place by stitching over the ends a few times for strength. 04

Step four Fold the edges of the turning gap to the inside and press.

Step five Topstitch all the way around the edges to hold the turning gap closed and to neaten the edges at the same time.

Step six Fold the pouch closed then loop the elastic over to the pouch front and mark where the centre of the button needs to be sewn on so the loop will fit around it.

Step seven Stitch the button into place, taking care to only stitch through the outer fabric and not into the pockets.

Step eight Fill the pockets with your favourite teabags and loop the elastic round the button to close the pouch.

ASSEMBLING THE POUCH Step one Place the outer RS together with the lining and pockets, matching raw edges.

Step two Stitch into place all the way around, leaving a 6cm (213⁄8in) turning gap in the centre of the bottom edge. Clip the corners.

Step three Turn the pouch RS out, carefully easing out the corners.

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pinboards

YOU WILL NEED

Q Main fabric: 30x30cm (12x12in) Q Backing fabric: 30x30cm (12x12in) Q Glue Q Cork mat: 20cm (8in) diameter Q Small plastic or metal ring for hanging Q Matching thread Q Basic sewing kit

CUTTING OUT Step one Place the cork mat on the wrong side (WS) of your fabric and draw around it.

Step two Cut 3cm (1¼in) outside the drawn circle all the way around.

Step three Place this fabric piece on the backing fabric and use it as a template to cut around to make an identical circle in the backing fabric.

Step four Press both fabrics well so they are free of any creases. 01

STICKING THE FABRIC TO THE MAT FABRICS USED The fabrics used are from the Kimono collection by Makower. For stockists visit www.makoweruk.com Cranes. Ref: 2047/R; Hexagon Patch.

Ref: 2049/Q; Purple Lattice. Ref: 2050/L; Cream Lattice. Ref: 2050/Q.

Step one Place the cork mat centrally onto the WS of the main fabric circle.

Step two Spread a 2cm (¾in) strip of glue around the inside edge of the back of the cork mat.

Step three Fold the edge of the fabric onto the glued edge and press firmly into place. Make sure you pull the fabric tightly so it is stretched evenly, but taking care not to overstretch and distort it.

Check that from the right side (RS) the print is facing the correct way and that there are no wrinkles in the fabirc. 02 Step four Leave the glue to dry.

LINING THE BACK Step one Place the backing fabric circle RS up over the back of the glued cork mat, ensuring that the fabric is smooth and there are no wrinkles.

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Step two Turn the edge under all the way around so that it is just inside the edge of the turned-over main fabric and won’t be seen from the front. 03 Step three Use glue to stick this fabric in place, or, alternatively, slip stitch it into place by hand for a neat finish. 04

FINISHING OFF Step one Stitch a hanging ring to the top of the back of the backing fabric by oversewing through the fabric.

Step two Hang up your covered mat for decorative wall art or to use as a pinboard.

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JOURNAL YOUR WAY TO YOUR BEST EVER YEAR B R E AT H E

Control your breath to connect with your body and calm your mind

B I R T H D AY S T O REMEMBER

MONTHLY GOALS

T H I N G S I ’ M G R AT E F U L F O R

NOTES

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Plan each month and keep track of your goals with handy ‘to-do’ lists YOGA: S TA R T T O D AY Finding a hobby that lets you express yourself creatively or physically can be a real mood booster Yoga is great if you want to try a more active pastime these relaxing poses will ease you in gently

HAPPY BABY

This pose is an instant mood booster putting you in touch with your inner ch ld Not only is it fun to do but it also opens your hips where we often store tension and releases the lower spine and the sacrum.

M E T H O D Lie on your back Bring your knees into your chest then reach around the outside of your legs to grab the outside of your feet gently holding on to them Have a play around in the pose you can invite some gentle movement into it by rocking from side to s de or forwards and backwards or by extending one leg and then the other Hold for as long as you re still enjoying the pose.

Twist out any tens on from your day in this pose

Smiling in this pose can make it even more fun

SUPINE SPINAL TWIST

Twists are a great way to stretch out the spine which is helpful if you ve been sitting at a desk all day This is also an excellent pose to practise after eating or if you re feeling bloated it slightly compresses your d gestive organs stimulating blood flow to them when you release from the pose which w ll help them to function better

M E T H O D Start by lying flat on your back Bend your knees and bring your feet to the floor Gently push through your heels to lift your hips off the floor moving them to the left before placing them back down With your knees still bent bring them to the right side f nding an angle that feels comfortable for you You may need to place a pillow or cushion under your knees if they re raised off the floor Stay here for 10 slow even breaths then return to a neutral position. Repeat on the other side

LEGS AGAINST T H E WA L L

This s the perfect pose for whenever your legs are feeling tired By raising your legs above your heart some of the effects of gravity on your system are reversed promot ng better circulation and digestion and allowing any tension in the legs to drain away

SUPPORTED CHILD’S POSE

This is ideal to do before bed for a good nights sleep as it stimulates the parasympathet c nervous system which encourages the body to rest and digest It also feels like a big supportive hug which is lovely to have at any time when life is getting stressful

M E T H O D Come to a kneeling position with knees apart Take a bolster or some pillows and pop them in the gap between your legs then fold forward so that you re lying on the bolster or p llows Turn your face to one s de and relax into the pose Take 10 slow even breaths here then turn your cheek to the other side and repeat.

M E T H O D Seated w th your legs stra ght out in front of you bring one side of your body close to a wall In one movement rotate to lie back on the floor perpendicular to the wall so that your legs swing up to rest on the wa l You can put a cushion under your head or lower back to get comfortable and your arms can be spread wide or down by your sides. Stay here for 10 slow, even breaths.

Feel comforted as the pillows hold your weight

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Find new ways to relax and unwind with simple activities and prompts E AT F R E S H, F E E L G R E AT

WINTER

PUMPKIN IN SEASON October December NUTRITION R ch in fibre and antioxidants great source of vitamin A and potassium

Small gradual changes to your diet are easier to implement than fads Making sure you eat seasonally is the easiest way to eat well

E

ating fresh food that s in season is not only great for the environment as it can be sourced more locally but also enhances ts flavour when veggies are naturally ready to be picked they ll

SPRING

A S PA R A G U S IN SEASON April May NUTRITION Good source of vitamin K v tamin B1 and antioxidants SELECT AND STORE Look for vibrant green or purple tinged spears that are firm not bendy w th plump moist ends Tr m the bases and store the stalks upright standing in a l ttle water until ready to use EXTEND THE SEASON Chop and blanch fresh asparagus for 2 3 minutes then keep in the freezer for up to a year RECIPE SUGGESTION Toss whole asparagus spears in a l ttle olive oil to coat then sprinkle with Parmesan cheese salt and pepper Roast in a preheated oven (180C Gas Mark 4) for 10 15 minutes until tender, and enjoy as a side.

taste so much better Heres our guide to colourful seasonal vegetables with t ps for sourcing the freshest produce and ideas for making the most of their unique flavours

SUMMER

COURGETTE (ZUCCHINI)

IN SEASON June August NUTRITION High in water content source of v tamins A and C folate and potassium SELECT AND STORE Opt for small young courgettes rather than older bigger ones Look for firm bright and shiny skin without any blemishes Store them in the vegetable sect on of the fr dg for up to three days before cooking EXTEND THE SEASON Grate the courgette including the skin then freeze When thawing drain any excess liquid RECIPE SUGGESTION Swap bananas for grated and drained courgette to make a sweet and moist bread Courgette flowers can also be stuffed with ricotta and baked for a light and delicious appetiser.

AUTUMN

BEETROOT IN SEASON August October NUTRITION Packed w th antioxidants and minerals great source of folic acid manganese fibre and potassium SELECT AND STORE Look for smooth hard and round beetroot Smaller ones w ll be sweeter and more flavoursome Make sure that the taproot at the bottom of the beetroot is slender and that any leaves attached are dark green and crisp Keep it in the fridge for up to 10 days remov ng the greens before storing

SELECT AND STORE Smaller varieties are better for cooking than larger ones which are better for carving Check for firm skin that s unblemished and doesn t have any bru ses and a hollow sound when tapped Store in a cool well ventilated place for a few weeks EXTEND THE SEASON Peel and chop the pumpkin into chunks Boil for around 20 minutes then blitz in a blender to make a purée Freeze to use later on in savoury or sweet recipes RECIPE SUGGESTION Make a risotto of your choice While it s cooking remove the top of the pumpkin and take out the seeds and the stringy flesh in the middle When your r sotto is ready pop it into the pumpkin and bake for around 30 minutes until the pumpk n is soft and the skin is browned Serve whole scooping out pumpkin flesh with the risotto to add flavour.

EXTEND THE SEASON S mmer cooked beetroot in a pan of white wine v negar along w th sugar sa t and any other spices youd like for around 10 minutes then pop into a jar Store them in a cool dark place for six weeks and then enjoy RECIPE SUGGESTION Boil whole beetroot for around 40 minutes or until tender Peel and thinly slice then arrange in thin layers on a plate Serve as a carpaccio with rocket shavings of Parmesan cheese roasted hazelnuts and a mustard sauce of your liking.

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Take small steps each month to bring more happiness to your everyday life

O RDER YO U R CO PY TODAY

ORDER ONLINE WWW.BUYSUBSCRIPTIONS.COM/HAPPIER CALL 03330 162 138† AND QUOTE ‘52 WEEKS TO A HAPPIER YOU PRINT 1’ †UK calls will cost the same as other standard fixed line numbers (starting 01 or 02) and are included as part of any inclusive or free minutes allowances (if offered by your phone tariff). Outside of free call packages call charges from mobile phones will cost between 3p and 55p per minute. Lines are open Mon to Fri 8am-6pm and Sat 9am-1pm. *Price above applies to UK orders only.

EUR price £11.99, ROW price £12.99. All prices include p&p. All orders subject to availability. Please allow up to 28 days for delivery.

CovEr

WHILE STOC

THE lauren set Sew a comfy new jersey staple for your dayto-day wardrobe with The Lauren Set, an easy-wear polo-neck top and midi dress.

PSST:

Turn over leaf for fa bric and styling in spiration , and be sure to sh are your ďŹ nished Lauren dr ess tagged #s or top with us implysew ingmag

th aur n s t There's nothing like opening your wardrobe in the morning to a rail full of stylish me-made garments to choose from, so we're working on filling ours up with clothes we'll love to wear everyday – and we see many versions of this issue's Lauren Set in our sewing future! This staple style features an elegant polo neck and can be made as a top or slinky midi dress. We'll have one in every colour, please…

WINTER STYLE Features cosy long sleeves and a polo neck.

YOU WILL NEED Q Knit fabric: Dress: 3.3mx115cm (3¾ydx45in) Top: 2.5mx115cm (2¾ydx45in) Q Ballpoint sewing machine needle Q Twin ballpoint needle (see notes) Q Clear elastic: 6m (6½yds) x 5mm (¼in) (see notes) Q Fusible edge tape (see notes) Q Basic sewing kit

FABRIC SUGGESTIONS Light to medium weight stretch knit fabrics such as cotton jersey or viscose jersey.

SIMPLE SEW Has a flattering loose silhouette for easy fitting.

NOTES Q Use a 1.5cm (5⁄8in) seam allowance.

Q Stretch fabric seams must be stabilised to avoid ripped stitches – clear elastic or fusible edge tape are two options.

Q A twin ballpoint needle will produce a double row of stitching, ideal for hems.

GETTING STARTED First, pre-wash and dry your chosen fabric to allow for any shrinkage. Find the line style for your size and follow these lines to cut out the pattern – it can be helpful to mark these using a highlighter. Get your sewing kit prepped, press your fabric for accurate cutting out – and you’re ready to get started on your Lauren Set!

Learn to se polo ne w a neat ck colla r.

TWO STYLES Choose to make a polo neck top or midi dress.

34 WWW.SIMPLYSEWINGMAG.COM

th aur n s t wear it with

The best thing about sewing? We can make ourselves a poodle-print dress if we want to! www.chatchocolat.com

Glitter Pineapples, www.pinandsew.co.uk

EveryDay chiC Update your daily look with these stylish additions.

Add colour with a classic fedora hat in a berry shade, £30, uk.accessorize.com

Striped Alike Blue, www. artgalleryfabrics.com

Blue Spot Border Print, www.sewingquarter.com

Statement metallic drop earrings = instant, effortless glam! £19.50, www.oliverbonas.com

FABRIC INSPIRATION

get into print

From pineapples to poodles, arrows to flowers, spots to stripes – jersey fabrics come in all the best prints and patterns.

Arrows, www. chatchocolat.com

Mid-wash denims are our weekend go-to, £30, www.debenhams.com Finish an outfit with a subtle pendant for sleek style, £49.50 from www. oliverbonas.com

Switch from day to night with a print clutch bag, £26, www.next.co.uk Stay comfy running errands in fresh white trainers, £39, www. crewclothing.co.uk

Striped Sleek Pink, www. artgalleryfabrics.com

Tongues, www. chatchocolat.com

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Dark, moody florals are perfect for making cosy winter dresses, from www.sewingquarter.com

Try an update on the classic black boot with a strap detail, £19.99, www.shoezone.com

WWW.SIMPLYSEWINGMAG.COM 35

refashion

throw shapes

Yes, you can cosy up in your favourite throw all day! Just remake it into this chic cocoon coat à la Portia Lawrie.

36 WWW.SIMPLYSEWINGMAG.COM

refashion 01

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07

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YOU WILL NEED

Q Quilted throw or blanket (double-bed size) Q Loose-fitting sweatshirt, for a template Q Bias binding: 4.5m (5yd) (see notes) Q Erasable fabric marker Q Matching thread Q Basic sewing kit NOTES Q Our quilted throw measured 228x264cm (90x104in) and we used half of that.

Q Our throw had a bound edge which we reused in our finished garment. If your throw/blanket does not have a bound edge then you will need approx 4.5m (5yd) of bias binding in addition to the above supplies.

PREPARING THE THROW Step one If your throw has a bound edge carefully unpick the binding from around the entire circumference using a seam ripper. 01 Step two Press the binding along its length, unfold one folded edge and press flat. 02

CREATING THE BACK SECTION We used a sweatshirt with raglan sleeves as the template. However, if your sweatshirt has set-in sleeves, using an erasable fabric marker, draw a line from the underarm to the back neckline approx 8cm (31â „8in) from the shoulder seam.

Step one Lay your template sweatshirt on top of the wrong side (WS) of a single layer of the throw. Smooth out flat and fold the sleeves inwards along the raglan armhole seam (or your new drawn line) as pictured. 03 Step two Draw around the sweatshirt onto the throw, adding a 1cm (3â „8in) seam allowance at the side and armhole seams. Cut out.

CREATING THE FRONT SECTION Step one Fold the back section in half lengthwise and lay out on top of your throw following the grain of the fabric or any print.

Step two Using this as your pattern piece, cut two from your throw. 04

CREATING THE SLEEVES AND POCKETS Step one Trace around the sides and hem of the

38 WWW.SIMPLYSEWINGMAG.COM

sleeve onto the throw as pictured. Then fold the body section out of the way along the raglan sleeve (or drawn line) and trace that too. This will give you half a sleeve piece.

Step two Fold the fabric along the outer long sleeve edge you marked and cut along the traced lines. This will give you a full sleeve piece.

Cut a second using this as a template. 05 Step three Cut two pockets the full width of your front sections. We cut ours with slanted top edges for a bit of extra design detail but you can cut yours with a straight edge if you prefer.

The pockets are pictured here WS up just for illustration purposes. 06 Step four Bind the top and bottom edges of the pocket pieces, then attach them to the right side (RS) of the coat fronts with a permanent line of stitching along the bottom edge, and tacking stitches along the sides. 07 Step five Finish all seams except for the hems, neckline and the coat opening, either using binding or an overlock stitch.

Step six Sew the front and back sections to the sleeves as pictured. 08

CHECKING THE FIT Step one Tack the sleeve and side seams together and try the coat on. Check that the neckline fits closely and adjust the shoulder seams if necessary to achieve a close fit. 09 Step two Remove the sleeve and side seam

refashion 04

05

06

10

11

12

tacking. Make any necessary adjustments. Press the sleeve/shoulder seams open.

If your throw isn't quilted, show off your skills by quilting your own design!

FINISHING OFF Step one Topstitch the seam allowance down from the outside approx 2-3mm (1â „8in) away from each side of each raglan seam line.

Step two Sew the underarm and side seams in one pass. Press open and flat. Topstitch the side seam allowance in place from the RS, 2-3mm (1â „8in) away from the seam line. 10 Step three Round off the top and bottom edges of the opening on both sides as pictured. 11 Step four Bind the neckline, coat opening and hem with one continuous length of binding. 12 Step five Bind the sleeve hems to finish.

MORE IDEAS TO TRY Consider using the quilted pattern as a guide for some embroidery.

Use contrast binding to add a punch of colour to a plain jacket.

Add a zip or some toggle and loop fastenings to the opening.

Create a tie belt using remnants or a contrasting print fabric.

Add an interesting design detail by piping the seams.

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WWW.SIMPLYSEWINGMAG.COM 39

workshop

REPLACING A ZIP

r

A broken zip in a much-loved garment doesn’t mean the end of its lifespan or an expensive repair job. Learn how to easily replace an invisible zip in a lined garment with our step-by-step guide.

eplacing a broken zip can seem like a daunting task but it’s one that can easily be done at home. With a little guidance it is possible to achieve a neat, professional finish – and save money at the same time!

There are many reasons a zip may need to be replaced. If the zip box (the piece into which the zip slider is placed so that the zip doesn’t unravel at the end) is missing or broken on an open-ended zip, the zip will need to be replaced. Other common reasons for needing to replace a zip is if the coil of the zip has unravelled or if there are missing or damaged teeth in the zip.

It is important to work slowly when you are replacing a zip, and to check that everything is in the correct position before sewing. This is quite a simple process but is not one to be rushed, or saved until the eleventh hour!

ZIP TIPS

Here are three top tips for making replacing a broken zip as stress-free as possible!

If you are working on a very sentimental garment, a garment made from very fine fabrics or a vintage garment, it may be simpler to repair the broken zip – but carefully assess the problem to ensure damage will not be done to the garment while fixing.

Unpick each stitch individually; do not ‘tear’ them out. Once it has been unpicked, you might like to finish the raw edge with fray stopper or a thin strip of iron-on interfacing to prevent the fabric unravelling.

To replace an invisible zip in a lined garment you will need two different presser feet – an invisible zip foot and a regular zip foot (see p41). Both presser feet have two attachment pins that clip into the shank of your machine – this will allow you to swap the foot to different sides depending on which side of the zip you are working on.

40 WWW.SIMPLYSEWINGMAG.COM

01

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04

05

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YOU WILL NEED

Q An invisible zip matching your garment as closely as possible in colour and length Q Basic sewing kit NOTE Q Your garment may be sewn in different sections around the waistband. If this is the case you will need to unpick and resew all seams so that the lining and outer fabric are separate pieces. Our dress outer and lining were sewn together at the waistband. This meant that we couldn’t sew the lining to the zip separately – we unpicked the back waistband seam and resewed it with the outer fabrics sewn together and the lining fabrics sewn together.

Left: An invisible zip foot. Right: A regular zip foot.

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PREPARING THE GARMENT Step one Before unpicking the zip, you may find that marking the stitch line with tailor’s chalk is helpful for when you come to reinsert the zip.

Step two Unpick both sides of the zip. Remove loose threads and remove the hook and eye if there is one (this will be reattached later on). 01 Step three If the main fabric and lining were sewn to the zip as one piece (i.e. the zip wasn’t sandwiched between the layers), unpick any stitching holding the two fabrics together.

REINSERTING THE ZIP Step one Right sides (RS) together, align the edge of the zip tape with the raw edge of the left side of the outer fabric only. Using an invisible zip presser foot, stitch in place. Sew from bottom to top. The closer the stitching is, the more ‘invisible’ the zip will be. 02 Step two Close the zip and pin or tack the other side of the zip tape to the RS of the outer fabric.

Closing the zip will help you to line up the important points, such as the top of the zip and the waistband seams.

Step three Open the zip again and stitch from top to bottom. Most people prefer to keep the majority of their project on the left-hand side of the needle which is why we changed direction.

Alternatively, you can change the presser foot to the other side of the machine shank.

ATTACHING THE LINING Step one Turn the dress through so that the RS of the lining is facing the zip tape. This will involve some careful turning through, so be extra gentle if your fabric is delicate.

Step two Pin the lining to the zip tape all along the zip length, ensuring that important points, such as the waistband seam, match up. 03 Step three Stitch the lining fabric to the zip tape using the regular zip foot. You should be able to feel the zip teeth through the lining fabric, helping you to stitch close to the teeth. 04 Step four Turn RS out. The zip should be neatly sandwiched between the layers.

FINISHING OFF Step one Check that the zip matches at the top before trimming away any excess zip tape and seam allowance from the inside. Re-stitch along the top line to level out minor differences, then trim the corners diagonally and trim any excess zip tape causing bulk at the top. 05 Step two Work from inside the dress to fix any issues in the bottom seam. Most issues can be fixed by unpicking 1-2cm (¾in) and easing the fabric into the correct position. For a larger anomaly, unpick the bottom seam in the lining/ outer fabric and resew in the correct position.

Step three Re-stitch the hook and eye. Give the garment a final press to finish. 06

WWW.SIMPLYSEWINGMAG.COM 41

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ves ming • Pockets • Slee Zips • Seams • Hem • Markings • Tools • Measuring • Fitting

start sewing! today

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Whether you've never sewn a stitch before, are returning to your machine after a bit of a break, or have a few sewing projects under your belt, there's always something new to learn about our favourite hobby!

So we've filled this issue's Essential Guide to Dressmaking book with need-to-know skills, from choosing fabric and cutting out your pattern accurately, to how to insert sleeves, zips and pockets. This is just the kind of guide we wish we'd had when we started out! Go to www.simply sewingmag.com for more tips and ideas.

WWW.SIMPLYSEWINGMAG.COM 43

* PAPER GIFTS ONLY AVAILABLE ON UK NEWSSTAND

Boost your skills with these must-know sewing techniques.

sunny spot

You'll be walking on sunshine after making Angela Umpleby's tie skirt â&#x20AC;&#x201C; it's made to your measurements for the perfect fit.

no PatTern NeeDeD!

ti -waist skirt 01

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07

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YOU WILL NEED

Q Main fabric: 1.5mx115cm (1¾ydx45in) (see notes) Q Invisible zip: 36cm (14in) Q Sewing machine zip foot Q Matching thread Q Basic sewing kit NOTES Q Use a 1.5cm (5⁄8in) seam allowance unless otherwise stated.

Q You may need more fabric depending on your waist measurement and your desired skirt length. You may find it more economical to draft your pattern first and then purchase fabric based on the width and length of your pieces.

Q When measuring your waist, make sure you are breathing out so that you have ample ease in the skirt.

Q We have recommended a 36cm (14in) zip to accomodate a variety of heights and dress sizes. The zip needs to extend from your waist to your hip, so if this measurement is shorter for you then you can use a shorter zip.

CREATING THE PATTERN Step one Measure your waist circumference and add 3cm (1¼in) for seam allowances.

Step two Measure your desired skirt length starting at your waist and subtract 7cm (2¾in) (to account for the width of the waistband). Then add 1.5cm (5⁄8in) for the top seam allowance and 3cm (1¼in) for the hem allowance.

Step three Draw a rectangle that is your calculated waist measurement in width, by the calculated length. This will make the gather of your skirt double your waist measurement. If you would like the skirt to be fuller, make the rectangle wider.

This is the skirt front and skirt back pattern piece.

Step four To make the waistband pattern, add 3cm (1¼in) to your waist measurement and then draw a rectangle that is the width of this measurement by 17cm (6¾in) in length.

Step five For the waist tie pattern, draw a rectangle that is half of your waist measurement + 70cm (27in) wide and 17cm (6¾in) in length.

CUTTING OUT Step one From the main fabric cut: Front skirt: one using your template.

Back skirt: one using your template.

Waistband: one using your template.

Waist tie: two using your template.

ASSEMBLING THE SKIRT Step one Prepare the waistband by pressing in all

46 WWW.SIMPLYSEWINGMAG.COM

four sides by 1.5cm (5⁄8in), mitring the corners as shown, then fold in half widthwise and press. 01 Step two Place the front and back skirt pieces right sides (RS) together. Pin along one side seam and sew together. Finish the seam allowances together and then press the seam.

Step three Within the seam allowance of the waist seam on the skirt, stitch two rows of running stitch close together – don't backstitch to secure the threads, but instead leave long ends of thread at both ends. Gather the waist seam to fit your waist measurement, leaving 1.5cm (5⁄8in) ungathered at either end, and secure the threads on a pin. 02

ATTACHING THE WAISTBAND Step one Unfold one pressed edge of the waist band. Place it RS together on the gathered edge of the skirt pieces, pinning at the centre and at each end firstly to secure, then pin the gathers to the waistband from the skirt side as shown. Sew, removing pins as you go, or tack first then sew. 03 Step two Open the invisible zip and place it on one side of the skirt with RS together. Place the top ‘stop’ of the zipper at the centre fold line of the waistband, as shown. Pin in place. 04 Step three Sew the zip in place with a zip foot, starting from the top of the zip and sewing as far as the pull of the opened zip will allow. 05 Step four With the skirt inside out, place the left side of zip RS down on the RS of the other side of the skirt, closing the zipper to ensure you have

ti -waist skirt 04

05

06

10

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12

positioned it correctly and that the waist seams align. Pin the zip at the top to secure, then open the zip and finish pinning in place. Sew from the top, stopping at the zip head as before. 06 Step five Close the zip. With RS together, pin along the remainder of the side seam, pulling the free end of the zip clear of the seam as you sew. Sew as close to the zip seam as you can. Sew just above the end of the zip seam as shown. This will neatly conceal the zip end on the inside of your skirt. 07 Step six Fold the waistband over to the inside. Pin the short ends in place on the zip tape and then slip stitch the folded edges on both sides to the zip tape, close to the zip but leaving enough room for the zip to move freely. 08 Step seven Pin the inside of the waistband to the skirt along the long edge. Work from the RS of the skirt to ensure that the inside of the waistband sits slightly lower than the waist seam. Stitch in the ditch from the RS of the skirt, which will stitch through the inner waistband, and remove the pins as you go, or tack the waistband in place first and then sew. 09

along one short edge. Press the seam open and trim to reduce bulk. You will now have one long waist tie. 11 Step four Fold the waist tie in half widthways RS together and sew along the long open edge and one short end. Stop sewing 1.5cm (5â &#x201E;8in) from the open short end.

Step five Trim all seam allowances down to reduce bulk and press. Turn the sash RS out â&#x20AC;&#x201C; a knitting needle or similar tool may help with this. Tuck the

raw edges of the open end inwards and press. To close the open end of the waist tie, slip stitch by hand or machine topstitch.

Step six To attach the waist tie to the skirt, lay the skirt out with the back of the skirt facing you and the zip to one side.

Step seven Lay the sash on the back of the waistband, centred to one side. Pin in place and sew with two lines of stitching, backstitching at the beginning and end of each line to secure. 12

FINISHING OFF Step one Turn the skirt hem up to your desired length. Fold up once and press, then fold up again and pin in place. 10 Step two Stitch in place, removing pins as you go, or tack first then sew if you prefer.

Step three Sew the two waist tie pieces together

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WWW.SIMPLYSEWINGMAG.COM 47

WHILE

AST

THE sicily bag Sew a new go-anywhere everyday bag with The Sicily Bag, a practical backpack with durable straps and stylish leather details.

th sici y bag Adding a little handmade joy to everyday life is one of our favourite things about sewing, and what gets more day-to-day use than a carry-all bag? From work to weekend, our favourite bag is our constant companion, so we'll be stitching ourselves a new design that's practical and pretty with this issue's The Sicily Bag. Sewn up in durable canvas and featuring a stylish fold-over fastening and sturdy straps, this backpack is made to last!

NEW SKILLS Learn how to add straps, a pocket and a lining.

YOU WILL NEED Q Canvas fabric: 85x115cm (34x45in) Q Lining fabric: 85x115cm (34x45in) Q Foam interfacing: 1.2m (1½yd) Q Zip: 18cm (7in), to match the lining Q 8 x screw rivets Q Bag sliders: 2 x 4cm (15⁄8in) wide Q Rectangle rings: 2 x 4cm (15⁄8in) wide Q Taupe webbing: 2.5m (2¾yd) x 4cm (15⁄8in) wide, for the adjustable straps Q Tan leather or faux leather: 1.3m (1½yd) x 2.5cm (1in) wide, for the front straps Q Leather hole punch Q Leather glue

PRACTICAL PROJECT Has webbing and leather straps for durability.

Q Walking foot (optional)

FABRIC SUGGESTIONS Use a sturdy fabric such as cotton canvas, heavyweight cotton, nylon or denim.

NOTES Q Use a 5mm (¼in) seam allowance unless otherwise stated.

Q A walking foot is optional for this project, however using one will make sewing through the multiple layers of thick fabric and interfacing easier.

FINISHED SIZE Approx: 38 (H) x 34 (W) x 12cm (D) (15x14x5in).

Sew a h an zip poc dy inner k smaller et to keep bits and b obs.

STYLISH LOOK Features a cute boxy shape and fold-over detail.

50 WWW.SIMPLYSEWINGMAG.COM

th sici y bag shop the trend

Choose a bold, modern floral print for a statement bag, www.artgalleryfabrics.com

Magnolia Springs Orange, www.cloud9fabrics.com

CitruS zesT

When life gives you lemons... fill it with all things fruity!

Stay hydrated in style with this ditsy-print bottle, £14, www.cathkidston.com

Candied Lollies, www. artgalleryfabrics.com

Lichen Pink, www. cloud9fabrics.com

Lemon-adorned LED lights are sure to brighten up your day, £18, www. giselagraham.co.uk

Bring a summery vibe to your kitchen all year round with this orange print, £65, www.oliverbonas.com

FABRIC INSPIRATION

creative canvas With it's simple fold-over design, this bag is a blank canvas – so pick out a colourful print in canvas fabric and get sewing!

Add a bright case to give your phone a zingy new look, £3, uk.flyingtiger.com Keep little treasures in a lemon slice trinket dish, £7, www.talkingtables.co.uk

Pen Marks Ice Flow, www.cloud9fabrics.com

Freshen up your stationery stash with this notebook, £6.99 from www.homesense.com, and diary, £12 from www.paperchase.com

Cotton Canvas Yellow, www.sewingquarter.com

Squared Egret, www. cloud9fabrics.com

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We'd use the accent colours in this geo print for the lining and bag base, www.artgalleryfabrics.com

MY SEWING WORLD

By Lisa Comfort

Lisa looks ahead to a busy 2019, with new fabrics, a new home, and a more mindful approach to sewing projects.

H

Browse Sew Ov patterns and er It's collection of sewi ng fabrics at ww w.sewoverit.c om

appy New Year everybody! I hope you've all had fantastic Christmases, full of family, festivities and, of course, mince pies. I love the excitement of Christmas, but sometimes I can't wait for the calm that the new year brings. January, February and March's long, dark winter nights make for the perfect time to hunker down under a blanket, light up some candles and indulge in a hobby. Naturally, for me that means it's time for sewing!

After moving house in November it's been pretty hectic over the past few months around here. My sewing time has unfortunately been limited to quick snatches during my lunch breaks at work, so I've missed out on those treasured free hours to just sit down and sew uninterrupted. When you love to be creative – and need to be to stay sane – having a forced break from your passion or hobby can be really hard. As sewers, I think we spot inspiration everywhere we go, so to not have an outlet for all those ideas can get really frustrating. For the last few months my head has been swimming with things I want to make, so my to-sew queue has grown quite large!

"As sewers, I think we spot inspiration everywhere we go."

QUALITY TIME To help myself ease back in to sewing, I've booked four weeks away from work over January and February so that I can spend some time enjoying it peacefully. I want to sew mindfully and slowly instead of rushing to ‘catch up’, and so instead of making Sew Over It patterns, which I know like the back of my hand and can whip up quickly, I'm going to try out some other companies' designs. Their instructions and construction order will be different, so it'll force me to take it slow and enjoy the process.

Top of my list is the Inari Tee Dress by Named Clothing (www.namedclothing.com), which I've had in my sights for what feels like years! I'm also eager to try the Mandy Boat Tee by Tessuti (www.tessuti.co.uk), after seeing a couple of the Sew Over It team wear theirs all the time.

And, lastly, I want to make myself a pair of really luxurious Closet Case Carolyn Pyjamas (www.closetcasepatterns. com), complete with piping and everything! Because I've just moved house, there are also lots of opportunities to

52 WWW.SIMPLYSEWINGMAG.COM

s and ic r b fa w e n r u o Look out for Over It! w e S t a s e x o b n subscriptio

"I've picked out some beautiful fabrics for roman blinds and cushions."

The best way to get your sewjo back? Try a new craft! I loved giving weaving a go at The London Loom a couple of years ago and will be back there soon.

put my hobby to good use and make things for the home as well. I've already picked out some beautiful fabrics for some roman blinds and cushions.

Houses need dressing, too!

As much as I love sewing, I think it's important to try other things every now again as well. Most people are creative in more than one field, so if you're stuck with your sewing practice, the best thing to do is to try something else. I had my first weaving lesson a couple of years ago at The London Loom (www.the londonloom.com), and I've been back a couple of times.

It's a great hobby to pair with sewing, because once you've woven a piece of fabric, you get the chance to sew it up into something! I'm planning to head back there and weave away for a couple of hours. Bliss!

LOOKING AHEAD Whilst I'll be trying to wind things down at home, the same can't be said for Sew Over It. We've got tonnes of exciting things coming up for 2019.

I've been busy designing fabrics this year for my Lisa Comfort range and I can't wait to release them out into the world. Unlike my spring-summer line last year, this time they're printed on crepe, which is my favourite winter fabric. Just right for dresses and blouses! And they match gorgeously with my new raglan cardis. Black and navy are here, and we've got burgundy and bottle green coming soon as well! Our customers can also expect to see our popular PDF Club make a return for 2019, as well as brand new fabric subscription boxes â&#x20AC;&#x201C; and lots more things that I have to keep secret for now!

Photo: w w w.a

nniesloan.com

Keeping me inspired...

I love giving fu look with An rniture a new nie Sloan pai nts.

I want to put my stamp on everything in our new home! I love seeing what other people do with their homes, so lately I've been following lots of interiorsfocused accounts on Instagram.

Instead of buying everything new, they've inspired me to upcycle our current furniture that's looking a bit tired. Annie Sloan (www.anniesloan.com) paint is my saviour for this.

Hues of grey going everywhere!

Adding textures to our home with crochet and textiles is something I want to do, too.

Keep up with my new home renovations and more at www.lisacomfort.com

WWW.SIMPLYSEWINGMAG.COM 53

KNOW YOUR TOOLS

SEAM RIPPER GUIDE Even experienced sewists make mistakes, so keeping a seam ripper to hand is a must. Read our guide to making the most of this essential tool.

S

ewing mishaps happen to the best of us, so seam rippers, also known as stitch rippers, are a vital piece of sewing kit. These are relatively cheap and come in various types and sizes – keep a few in your stash so you’ll always have one to hand!

ANATOMY OF A SEAM RIPPER There are four parts to a seam ripper: Handle: These vary in size and can be soft-grip and ergonomic. Larger handles are helpful for undoing seams on heavyweight fabrics.

Point: This is used to pick up and cut stitches.

Blade: U-shaped and very sharp for cutting.

Ball-tipped point: To protect you from the blade and the fabric from its point.

HOW TO REMOVE A SEAM Seam rippers are primarily made to remove

unwanted stitches and seams and there are several methods of using them. To remove a whole seam, open it up and run the blade along it to cut all the stitches with the ball point facing down. The only problem is that it is quite easy to cut the fabric this way.

The safest way to undo a seam is to lay out your fabric on a flat surface then lay the point on its side and slide it under a stitch until the blade cuts it. Cut every third or fourth stitch along the seam in this way.

Turn your fabric over to the other side then pull the whole thread out in one go. Now separate the two pieces of fabric and you’ll be left with snipped threads on your fabric, which can then be removed with a lint roller.

BUTTONHOLES A seam ripper is the perfect device to cut a neat, accurate slit between the two lines of stitching on machine-sewn buttonholes.

Push a pin at either end of the buttonhole to

The Seam Fix seam ripper has a special plastic top on its lid for removing unwanted threa ds.

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stop the blade cutting through the stitches.

TURNING FABRIC TUBES The point is perfect for carefully turning very narrow tubes of fabric right side out.

TRANSFERRING LINES Use the point for pressing onto carbon paper to create fine details on fabric.

TURNING CURVES AND POINTS When turning fabric right sides out, to get into all those curves and corners, run the point along the seam from the inside.

PLEATS AND TUCKS A seam ripper is a great tool to keep by your machine for adjusting these as you stitch.

For Hemline seam ripper stockists, email groves@stockistenquires.co.uk. Prym seam rippers are available from John Lewis, Hobbycraft and independent retailers.

Keep your seam ripper clean and use it only for sewing tasks to keep it sharp.

fringe benefits Super-soft double gauze and boho fringing make for a luxurious combo â&#x20AC;&#x201C; and it can be sewn up in an afternoon! By Anna Alicia.

fring d scarf 01

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YOU WILL NEED

Q Double gauze fabric: 75cmx140cm (30x50in) (see notes) Q Cotton fringe trim: 1.5m (1¾yd) by 5cm (2in) wide Q Matching thread Q Basic sewing kit NOTE Q The fabric quantity is based on a fabric that is 140cm (55in) wide – if your fabric is narrower you will need to buy 1.5m (1¾yd) and use the length of the fabric for the longer edge, trimming the width to 75cm (30in).

MAKING THE SCARF Step one Lay out your fabric right side (RS) up on your work surface. You will use the whole piece of fabric, but you will need to trim the selvedge off if it is more than 1cm (3⁄8in) wide.

Step two Lay your chosen fringe trim along one of the longer edges, so that its stitched top edge runs along the edge of the fabric. Now carefully fold the other long edge of your fabric over to meet the edge with the fringe trim. Pin along the open edge, approx 1.5cm (5⁄8in) in from the raw edge. This will result in your fabric being folded in half, with the RS facing and your fringe trim sandwiched inside. Cut away any excess fringe trim. 01 Step three Sew along the pinned edge, approx 1.5cm (5⁄8in) in from the raw edges. As double gauze is quite delicate, it’s also a good idea to zigzag stitch over the outer edge of your seam too to prevent the fabric from fraying. 02

around. 03 Step three Hand-sew the edges together with small, neat stitches. Your fringe trim may have a ‘holding thread’ keeping the fringe neat – if so, snip it and pull it away from the fringe. 04

FINISHING OFF Step one Turn the fabric ‘tube’ RS out. Bring the open ends together, lining up the ends of the seams where the fringe trim is. Ensure the loop isn’t twisted.

Step two Fold the edges of both open ends in by 1cm (3⁄8in) and then, with the RS of the fabric facing, pin these two ends together all the way

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Tassels, pom poms, fringing – add any type of trim you like!

Take an unloved jumper from sad to rad with Lana Red’s simple-stitch ‘good vibes’ slogan embroidery.

Make Your own in an AftErNoon!

“You can’t help but feel good vibes looking at this colourful embroidery! You could also use the same technique to stitch any phrase or name you like.”

YOU WILL NEED

Q Jumper Q Stranded cotton thread in bright colours Q Embroidery needle NOTE Q Download the templates from www. simplysewingmag.com/downloads

CUTTING OUT Step one Download and print the template or draw your own design onto a piece of paper in the sizing of your choosing.

Step two Remove the outlines of the template with your scissors or a hobby knife.

Step three Place the template onto the front of your jumper and keep it in place with a few pins.

Step four Trace the design with tailor’s chalk or an erasable fabric marker.

Step five Remove the pins and paper from the jumper. Now you are ready to start stitching.

STITCHING THE DESIGN Step one Thread an embroidery needle with the stranded cotton.

Step two Using a simple backstitch, stitch the words onto the front of the jumper. You might find it helpful to work in the direction of the letters as if you are writing the word.

DECORATION IDEAS If you want to add more detail to your jumper, you can add extra decoration such as a pom pom trim, ric rac braid or beading inside your stitching lines. You could also embroider a phrase on the back of the jumper.

Lana is the founder of the DIY and lifestyle blog Lana Red Studio and wants to encourage everyone to be creative. When she’s not behind her sewing machine or camera, you will probably find her cuddling with her cats or twirling around in one of her handmade dresses. www.lanaredstudio.com

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CREATIVE SPACES Big or small, everyone should have a sewing spot to call their own. We speak with five designer-makers to find out how they put together their perfect space for getting creative in.

Written by Sarah Gane.

A GOOD R AD

Photo left: www.justaddsunshineinc.etsy.com; Photos top left: www.thelittlepomegranate.co.uk; Photos top right: www.plumandpigeon.etsy.com

Sewing Bee's Rumana uses smart storage in her multifunctional sewing and family room: "I’ve got everything I need set up in the corner around a little bureau."

W

e’ve all been there: you’re about to start your latest dressmaking project, but… hang on a second, there’s a pile of paperwork or boxes in front of your sewing machine. Or perhaps the fabric you need is right at the bottom of a pile of stuff – or you have to unpack everything from its rightful case before you can get started. And then the moment’s over, it’s dinner time, the baby has woken up, or you can’t quite find the tool you need and the creative spark is lost. While these situations can often be frustrating (and unfortunately there’s no ‘magic more time’ button on life), a way around it could be to carve out a cosy spot to create whenever the moment does strike. Prioritising our creativity and removing barriers, such as lengthy setup or search times, by having things readily available means we can really maximise what little spare time we have can got. And the even better news? It’s not about waiting for the perfect place, house or shed – it’s about thinking outside the (sewing) box…

CONSIDER WHATWORKS FOR YOU For junior doctor and Great British Sewing Bee 2016 quarter finalist, Rumana Dawood (www. thelittlepomegranate.co.uk), her sewing space is in the lounge. Utilising a corner of the room, she has everything she needs packed away in a bureau from Ikea. Having this tiny yet dedicated spot for her craft works wonders, as she explains: “It lets me

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For designer Rose Halstead, "being surrounded by my fabrics, materials and moodboards makes me feel motivated."

focus on my sewing and lets me get into the ‘sewing headspace’.” Like most of us, her life is busy – raising a baby while she and her husband work as junior doctors – so evenings are precious. Sewing in the lounge offers flexibility for the family: “It’s an open-plan room and I’ve got everything I need set up in the corner around a little bureau… I did consider using our spare bedroom but I’ve

“Try to think outside of the box when it comes to choosing furniture and storage." always done my sewing on the dining table and really like being in the same room as everyone. It means I feel I'm spending time with them even if I’m working on a project!”

Nevertheless, this way of sewing is not without its challenges. Although the bureau helps to keep everything contained, the process of creating something out of nothing – by its very nature – can be rather messy.

“In theory, the great thing is that I can close it up and hide any mess behind it, especially when we suddenly have visitors.

The only problem is, I’m such a messy sewer I end up covering the whole dining table anyway! … I can’t just close the door midproject, I have to tidy up!” she laughs.

Rose Halstead, designer, seamstress and owner of Manchester-based handmade clothing company Plum and Pigeon (www. plumandpigeon.etsy.com), agrees. “For me, it's really great that I can come into a separate room to be creative – being surrounded by my fabrics, materials and moodboards is inspiring and makes me feel motivated on a daily basis. Before moving into this house, I lived in a small one-bedroom flat where I worked in the living room and did my sewing on the dining table. There I had no division between my work and home life, which could make it difficult to get into the right headspace to be creative.”

Creative maker Katie Sabin (www.justadd sunshineinc.etsy.com) encountered similar problems when making for her business.

“When I first opened my Etsy shop five years ago I was doing all my work at our kitchen table. It made for a cleaning scramble nearly every day so kids could do their homework at the table in the afternoon and we could eat family dinner together on it in the evening.”

With no designated space for her crafting kit, precious time was spent locating it. “All my supplies were spread out from room to room,

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If our craft room looked like this, we would never leave!

Maker Katie Sabin keeps her enviable stash organised in glass jars and baskets so she can find everything easily.

which made it difficult to know where things were and meant making time was wasted while I looked for what I needed.”

Creative storage solutions can certainly help with this, as Rumana explains. “Try to think outside of the box when it comes to furniture and storage: I’ve got a bamboo steamer that I’ve spray-painted as a simple and fun way to store things in layers.”

Having furniture that earns its keep is key too, she adds. “I like to have multi-functional furniture – my bureau lets me store my sewing machine, some fabric and books on the top. I also only keep my current fabrics nearby so I make my way through it and it means the area isn’t too cluttered. My other fabrics are stored away upstairs in vacuum pack bags.”

For designer, seamstress, interior designer and mum of three, Emily Wilson (@mother hoodwithashotofcoffee), utilising unused space in her home has helped her to be more productive. “After a few years of it slowly taking over our dining room (and having my toddlers climbing up to my machine and sprinkling pins everywhere) I finally moved down to the basement. My little space is

actually just a hallway that is right next to our laundry room… I don’t think many people would have looked at that small space and thought much could be done with it, I hadn’t when we first moved in, but I knew this was my only chance for a dedicated space, so I had to get creative.” Emily’s cutting table has a large pegboard attached, but the whole thing is on casters, in case they need to access other areas of the basement.

“I love the pegboard wall… it’s so great to be able to grab my tools and easily place them back without desks with drawers or bins. I love the texture, colour and interest it brings to my studio.”

THINKING PRACTICALLY For Daniela Muller of www.haus-of-craft.com, having somewhere to sew was a no-brainer, “I set it up because I NEED to sew – it’s my happy place.” Situated within her home office, this functional and oh-so-minimal spot ensures she can get making whenever inspiration strikes. Facing her work desk and sewing table away from one another also helped in keeping the two activities separate.

“Capturing the natural light is kind of my

Photos left: www.justaddsunshineinc.etsy.com

“My craft supplies live in labelled baskets and pretty boxes. everything is colour-coordinated."

A GOOD R AD D

Give your sewing space a revamp with these practical and stylish ideas.

Natural light is a must for artist and maker Daniela Muller. “I’m by a south-facing window, so it gets great light.”

KEEP IT LIGHT AND BRIGHT Designing my studio with reasonably limited space meant I had to be careful when selecting furniture. I needed to make sure I could get everything necessary in there.

I also wanted to make sure that I kept the space bright so that I have enough light for sewing, so I painted the walls white.

Rose Halstead

biggest thing,” she tells us. “I’m by a southfacing window, so it gets great light until the early afternoon.” Aside from making sure you have lamps for evening sewing sessions, don’t forget to think about the plugs, too.

“Arranging to be near an electrical outlet is key for plugging the machine in! Not a very glamourous tidbit, but it’s the truth.”

Much like setting up in a communal family area, keeping things tidy is always going to be an issue in a dual-purpose room. “I think every creative space is susceptible to a bit of day-to-day mess while it's in use,” reflects Daniela. “We all tidy up before the pretty Instagram photos!” Nevertheless, having a messy space can have an impact on our wellbeing – most commonly in the feeling of overwhelm, as another thing added to the well-documented ‘mental load’. This term has been used to describe what is essentially the burden of remembering all the different tasks required to keep a household running.

“I do believe that a clear desk equals a clear mind,” Daniela tells us. “What works for me is to do a bit every day. Unless I have something out I’ll be working on for a few days, I just consistently put things away after use. It’s the only way that works for me. Also, storage.”

STORAGE SOLUTIONS Making a feature out of our supplies is most certainly a quick way to inspire and spark joy in a creative space. Whether it’s a bookshelf or a whole room, taking time to organise what you have presents multiple benefits: it enables you to get in the ‘flow’ state,

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GET A PEGBOARD “I hang scissors, rulers, my brayer (rolling tool), and a hammer – I use it constantly! And pegboards are easy to paint to fit your space!

Easily customizable and oh so useful!”

Katie Sabin

Hang tools and inspiring art on a pegboard, like this one from www. pegandboard.com

USE WHAT YOU HAVE “Get creative. Figure out exactly what it is you need and look at your home and find any wasted space. Even if it’s a shared space with family, think about utilising sewing tables, armoires, etc, that you can use to hide your sewing equipment when not in use.”

Emily Wilson

Invest in plenty of storage boxes for fabrics and other crafty bits and bobs.

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Photos top left and bottom right: @motherhoodwithashotofcoffee; Photo top centre: www.haus-of-craft.com; Photo right: www.pegandboard.com

Emily Wilson's petite craft corner proves that, with a little ingenuity, any space can be a sewing space! "It's actually just a hallway right next to our laundry room."

encouraging mindfulness and improving wellbeing; you can take stock of what you have, reducing the need to repurchase items you can’t find; and it also saves time when you’re in the middle of actually working on something. The many colours and textures also serve as inspiration in itself.

For Katie, it’s important for her to tabs on what she’s got, so she uses lots of glass jars, baskets and matching bins. “I have so many small supplies that need to be corralled but still need to be visible so I don’t forget about them. Glass canning jars are a favourite for storing similar items, plus they look so pretty all next to each other. Wire baskets are great and easy to spray paint to match your decor.

I use them for storing fabric, yarn, paints, etc.

Mugs are great for pens and pencils, paint brushes, and other miscellaneous tools that I need close by.” Labels and colour are key for Daniela, too: “For storing fabric, I recommend keeping it in a clear bin and neatly folding the fabric lengths around cardboard for easy identification and use. All of my craft supplies live in labelled baskets (zippers and patches), little plastic bead boxes with dividers, and pretty boxes. I have everything colourcoordinated and styled into my Ikea shelves.”

Working with the space and budget you have is the secret, as she explains: "I dream of our forever home where I can invest in builtins and just hide everything behind doors.

Until then, I'm a fan of just using what you have and making it work for you!”

Ultimately, though, it’s about staying practical and trying to balance style with function, as Katie explains: “When you’re planning out your creative space, think about all the things you want in close reach to make creating and crafting easy! The supplies you use most frequently, and the tools you need to create along the way. It is so much easier to begin a craft project if you know where everything is and you’re not having to hunt things down!” The most important advice, though? That’s an easy one, says Katie: “Make it a spot that you’re excited and inspired to be in. Whether it’s big or small!”

UpcYcle QUICK PROJECT

tee for two

Can't bear to part with your fave old tees? Try two new ways to wear them with Lana Red's quick T-shirt hacks.

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T-SHIRT upcyc

HEADBAND YOU WILL NEED

Q Old T-shirt Q Matching thread Q Basic sewing kit

MEASURING YOURSELF Step one Measure around your head where the headband will be positioned and make a note of this measurement.

CUTTING OUT Step one Place the T-shirt on a flat surface and then cut out two rectangle pieces that are your head measurement in length and are 13cm (5½in) wide.

Step two Fold one of the rectangle pieces in half lengthways, with the right sides (RS) facing.

Step three Pin the raw edges together and then repeat these steps with the other rectangle piece. These are your headband pieces.

SEWING THE HEADBAND Step one With your sewing machine, zigzag stitch along the pinned line. Carefully turn the fabric RS out.

Step two Repeat with the second piece.

Step three Place one of the rectangle pieces on a flat surface. Place the other piece on top, creating a cross shape.

Step four Fold and pin the ends of the bottom piece together, with the top piece still in place.

Step five Fold and pin the ends of the top piece together. Try to keep the seams on the same side so that they can be hidden when worn.

Step six Bring the two pinned edges of the top and bottom pieces together and stitch with a zigzag stitch.

FINISHING OFF Step one Check that the headband fits you correctly. If you have used a particularly stretchy fabric, you might like to restitch the edges together further along to create a snugger fit.

Trim the edges close to the stitching.

NECKLACE YOU WILL NEED

Q Old T-shirts Q Scissors Q Chain necklace or beads, to decorate

CUTTING OUT Step one Place your T-shirt on a flat surface and smooth out the bottom of the shirt.

Step two Cut away the bottom hemmed edge of the shirt in a straight line.

Step three Cut horizontal one-inch wide strips across the bottom to mid-section of the shirt.

Don't worry if they are not quite perfect as you won't see the edges when you are done.

Step four Stretch out all the one-inch strips so that the edges curl. Gather all of the strips, matching up the ends.

DECORATING AND FINISHING Step one Wrap a chain or beaded necklace around the gathered strips or decorate the necklace by stitching beads to it.

Step two Cut out one extra strip to use for finishing and wrap it over the seams of the other strips until they are completely covered.

Step three Tie and then tuck the ends of the finishing strip underneath to hide them.

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Give your fave stripy tee a new look with this simple update.

Have our quick-and-clever T-shirt hacks (p62) got you inspired to revamp your old, unloved tees? When it comes to upcycling, this wardrobe staple has to be one of the most versatile garments around â&#x20AC;&#x201C; there are so many ways to reuse, repurpose and rewear them! So we're forever collecting secondhand tees in all sizes for speedy makes â&#x20AC;&#x201C; for example, to make this cute striped peplum number we used an XL men's T-shirt, plus our favourite fitted tee as a template. Make your own with the tutorial at www.simplysewingmag.com

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Shop around

From farmers' market goodies to crafting supplies, carry your latest finds home in Minki Kim's cute quilted shopper bag.

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QUI T D SHOPP R 01

02

05

06

YOU WILL NEED

Q Outer fabric: 1mx115cm (11⁄8ydx45in) Q Base fabric: 50cmx115cm (20x45in) Q Lining fabric: 1mx115cm (11⁄8ydx45in) Q Pocket contrast fabric: 25x25cm (10x10in) Q Pocket accent fabric: 25x25cm (10x10in) Q Pocket lining fabric: 25x25cm (10x10in) Q Outer binding: 20x115cm (8x45in) Q Inner binding: 30x115cm (12x45in) Q Foam wadding: 1mx72cm (11⁄8ydx283⁄8in) Q Fusible interfacing: 25x25cm (10x10in) Q Webbing: two 65x4cm (26x15⁄8in) Q Handle fabric: 30cm (12in) Q 8 sets of antique double cap rivets Q 90/14 sewing machine needle Q Temporary fabric glue Q Basic sewing kit NOTES Q The seam allowance is 5mm (¼in).

Q The fabrics used are from Someday

by Minki Kim for Riley Blake Designs. www.rileyblakedesigns.com APPROX FINISHED SIZE 46x37x14cm (18x14½x5½in).

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CUTTING OUT

MAKING THE POCKET

Step one Download the templates from www. simplysewingmag.com/downloads then print and cut them out.

Step two From the outer fabric cut: Bag front and back: two 53x42cm (21x16½in).

Step three From the base fabric cut: Base: one 53x19cm (21x7½in).

Step four From the pocket fabric cut: Pocket: one using the template.

Step five From the pocket accent fabric cut: Pocket accent: one using the template.

Step six From the pocket lining fabric cut: Pocket lining: one using the pocket template outer line.

Step seven From fusible interfacing cut: Pocket interfacing: one using the pocket template outer line.

Step eight From the lining fabric cut: Bag lining: two 53x42cm (21x16½in).

Base lining: one 53x19cm (21x7½in).

Step nine From the outer binding cut: Outer binding: one 5x115cm (2x45in).

Step ten From the inner binding cut: Inner binding: two 5.5x115cm (2¼x45in).

Step eleven From the foam wadding cut: Main bag wadding: two 53x42cm (21x16½in) for bag exterior.

Base wadding: one 53x19cm (21x7½in).

Step twelve From handle fabric cut: Bag handles: two 66x10cm (26x4in).

Step one Press the lower angled seams of the pocket accent piece to the wrong side (WS) by 5mm (¼in). Place on the pocket fabric, aligning the top raw edges. Pin in place.

Step two Topstitch the bottom folded edges 3mm (1⁄8in) from the edge.

Step three Press the fusible interfacing on the WS of the pocket.

Step four With right sides (RS) together, place the pocket lining on top of the pocket. Sew all the way around, leaving a 7.5cm (3in) gap on one side for turning. Turn RS out and press in shape. There is no need to close the turning gap at this stage. Set the assembled pocket aside.

MAKING THE BAG BODY Step one Sandwich the bag front fabric, a main bag wadding piece and bag lining with the WS of the fabrics facing the wadding. Pin or tack all the way around to secure.

Step two Quilt as desired. We quilted criss-cross lines 2.5cm (1in) apart. Trim the quilted piece to 47x38cm (18½x15in).

Step three Repeat these steps to assemble and quilt the back side of the bag.

Step four Place the assembled pocket on the centre of the quilted bag front, ensuring it is positioned equally from either side. Pin in place.

Step five Topstitch the pocket to the bag body 3mm (1⁄8in) from the outer edge. Backstitch

QUI T D SHOPP R 03

04

07

08

a few times at the top sides of the pocket opening for added strength. 01

MAKING THE BAG BASE Step one Sandwich the bag base fabric, base wadding and base lining together with the WS of the fabrics facing the foam wadding. Pin or tack together to hold in place. Quilt as desired.

We quilted criss-cross lines 2.5cm (1in) apart.

Trim to 47x15cm (18½x6in).

Step two RS together, place the assembled base on top of assembled bag front, aligning the long bottom raw edges. Pin then staystitch.

Step three Fold the inner binding strip in half lengthwise, with WS together. Press. Place the binding strip on top of the bag bottom, aligning long raw edges. Re-pin the binding to the base and bag front. Sew through all of the layers.

Step four Fold the binding strip over the seam and fold neatly to hide all raw edges. Hold in place using binding clips if necessary. Topstitch in place. 02 Step five Sew the outer fabric bag back piece to the base in the same way. 03 Step six Bind the back and base seam in the same way. 04

ASSEMBLING THE BAG Step one With RS together, fold the bag base in half towards the bag body, aligning the top long edges. Using binding clips, hold in place.

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Step two Change to a 90/14 needle on your sewing machine as this will assist with sewing through the multiple bulky layers. Sew along the bag sides through the layers.

Step three Take the inner binding strip and press 1cm (3⁄8in) of one short edge to the WS. Step four As the folded bottom layers will be bulky, you can zigzag stitch along the bag side seams before binding them to make them flatter. This will make binding easier as binding through multiple layers can be quite difficult.

Step five Place the folded binding edge on the bag base with RS together and aligning raw edges. Hold in place using binding clips.

Step six Stitch the binding in place.

Step seven Fold the binding over and neatly finish on the other side with hand stitches or machine topstitching. 05 Step eight Repeat for the other side to finish the bag body. 06

MAKING THE HANDLES Step one Wrap the webbing with the handle fabric. Fold the seam allowance to the WS and press. Hold the fabric in place with temporary fabric glue.

Step two Sew around the handle edges 3mm (1⁄8in) from the outer line to secure in place.

Step three Quilt with lines of straight stitching spaced 5mm (¼in) apart.

Step four Repeat to make the other handle. 07

BINDING THE BAG Step one Take the outer binding strip and press in half lengthwise with WS together. Aligning raw edges, pin the binding to the top edge of the bag with RS together.

Step two Stitch the binding in place, ensuring your stitch line is evenly spaced from the raw edge as this binding will be visible when the bag is complete.

Step three Fold the binding over to the inside of the bag and neatly hand-stitch it in place.

ATTACHING THE HANDLES Step one Mark the centre of the bag opening using an erasable fabric marker.

Step two Mark 7.5cm (3in) each side of the centre mark and 5cm (2in) down from the top edge. Place the handle ends in these positions.

Step three Sew the handle to the bag along the top edge binding stitch line. Backstitch at the start and end of each stitch line for security.

Step four Repeat with the other straps.

Step five Following manufacturer’s instructions, attach a double cap rivet 1cm (3⁄8in) below the binding stitch line on one of the handles. 08 Step six Attach an additional rivet underneath the first, spacing it 1.25cm (½in) from the first rivet. This will give the strap extra strength.

Step seven Repeat on the other three strap ends, making sure that the rivets on each side of the bag sit opposite each other for a neat finish.

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window dressing Washing up wonâ&#x20AC;&#x2122;t be such a chore with a colourful handmade curtain to admire.

Make one with Erin Schlosserâ&#x20AC;&#x2122;s tutorial.

Café curtain 01

02

First ¼ fold

Second ½ fold Rod pocket

Double-folded and edge stitched side hems Raw edge Edgestitch

Wrong side of the fabric

03

04

YOU WILL NEED

Q Light/medium weight fabric suitable for home furnishing (see instructions for quantity) Q Blind hem sewing machine presser foot Q Tension rod to fit your window, 1.5cm (5⁄8in) or smaller diameter

CAFÉ CURTAINS Café curtains are great for a little privacy in a breakfast nook or kitchen window. Use a fun kitschy print or a classic geometric pattern and get sewing! Café curtains also work well to cover open shelves and vanity openings when you want to hide a bit of clutter.

From Sew Home by Erin Schlosser, published by Stash Books (www.ctpub. com). Styled photos by Page + Pixel and Carly Jean Marin; Instructional photos

by Diane Pedersen.

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MAKING THE CURTAIN

MEASURING AND CUTTING

Step one Carefully press each side to the wrong side (WS) by 1.5cm (5⁄8in) and then repeat and make a double fold, enclosing the raw edge.

Edgestitch along each folded edge. Test the iron on a small scrap first to make sure that the fabric won’t burn, melt, or distort with heat. 01 Step two To make the rod pocket, fold the top edge to the WS by 5mm (¼in) and press.

Step three Fold over again by 3cm (1¼in) and press in place. Finish the folded edge with an edge stitch. 02 Step four Press the bottom edge to the WS by 1.5cm (5⁄8in).

Step five Fold over again by 2.5cm (1in) to enclose the raw edge. Finish with a blind hem.

Press well. 03 Step six Insert the tension rod into the pocket and hang. 04

Step one To find the length of the fabric rectangle find the width of your window and multiply this by 1.5cm (5⁄8in). Then take this measurement and add 6cm (23⁄8in) – this will be the width. Measure your desired curtain length and add 8cm (3¼in).

Step two Cut out the curtain fabric using the

Add a length of pom poms or other decorative trims for more colour. If the curtain will be near a dining table or kitchen sink, consider using a waterproof fabric or a water repellent like Scotchgard to keep it in pristine condition.

ADDING A LINING NOTE Q Always test the iron setting on a small scrap to make sure that the fabric won’t burn, melt, or distort with heat.

measurements you have calculated, making sure you’ve trimmed off the selvedges first.

To add a lining to your café curtain simply cut a piece of lining fabric in the same dimensions as your main fabric and sew the two pieces as if they were one, following the instructions below.

Depending on its use, there are several lining options available for your curtain. Lightweight lining is the most widely available but will often still let some light into the room, blackout lining has a barrier that blocks out light, and thermal lining will assist in keeping out heat or cold to maintain a comfortable temperature.

MORE IDEAS TO TRY

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a good read

LITTLE LUXURIES

We chat with Amy Hemmings-Batt, the founder and creative force behind Liberty-print lifestyle brand Coco & Wolf, about small beginnings, how to deal with ‘copiers’ and why, sometimes, having no plan is a good plan!

W

hen Amy Hemmings-Batt was pregnant with her daughter and couldn’t find the type of baby clothes she was after, this former fashion buyer and lifelong sewer put her skills to good use. “There was a real lack of well-designed, stylish baby clothing available on the market so I set about designing a small collection,” she explains.

“I made toiles in the evenings when I came home from work and bought small sample lengths of Liberty fabric to make them up in.

The plan was never to have my own business – I just wanted to make things that I loved and believed in.” But, with a very obvious gap in the market for unique and luxurious children’s

74 WWW.SIMPLYSEWINGMAG.COM

Written by Sarah Dawson.

clothing, Amy decided to launch Coco & Wolf in 2012, and the dreamy Liberty-print lifestyle brand has since become the go-to destination for quality childrenswear and bedding.

A CREATIVE START Growing up surrounded by creativity and a love of sewing, Amy was inspired to give it a try herself from an early age. “When I was little, my mum took a break from her teaching career and started a sewing business. She used to sew while my brother and I were with her and I always used to dress up and make things out of her scraps of fabric,” she recalls.

“Throughout my childhood I continued to make clothes for myself and my dolls, with my

mum and my nan on hand to help and teach.”

Amy’s passion and talent for sewing didn't go unnoticed – Husqvarna Viking sponsored her when she was taking her textiles GCSE, giving her one of their machines to work with. “I used it to make my prom dress,” she smiles. Her love of clothes and style then led her to pursue a successful career as a fashion buyer in London, before moving to Somerset and setting up Coco & Wolf. As for her own personal look, she’d sum it up as "considered and brave. I haven’t ever been one to follow the trends, I always follow my heart and what I love.” She continues: “I like to create my own style. Sometimes I get it right and sometimes I don’t, but I enjoy thinking about it endlessly!”

a good read SEWING SUCCESS What began as a very small set-up soon had to expand due to Coco & Wolf’s rapid success.

“When I launched the business it was just me, my sewing machine and my computer, with a head full of ideas,” she says. “I very quickly learned that I couldn’t do everything, and my first seamstress joined quite soon after to take on the bulk of the sewing orders.”

From here, the clothing range grew to include everything from cute babygrows and bloomers to the sweetest dresses, all in their signature Liberty prints. Drawing on her experience as a mother, Amy has designed everything with babies and children in mind, so expect pieces made in the softest material – but which can still be thrown in the washing machine. In 2015, the brand evolved to include their bedding and interiors collections (think heavenly cot sheets, changing mats and duvet sets), moving into a new studio space to

accommodate the growing team. Currently run by a team of five, Coco & Wolf sell their delightful handmade creations all over the world through their website, as well as wholesaling to other retailers.

Amy has achieved that enviable goal of creating a strong overall aesthetic that is instantly recognisable as Coco & Wolf. The

"WHEN THE BUSINESS LAUNCHED IT WAS JUST ME, MY SEWING MACHINE AND MY COMPUTER, WITH A HEAD FULL OF IDEAS. MY FIRST SEAMSTRESS JOINED SOON AFTER." quintessentially British feel of Liberty’s iconic prints, mixed with clean and contemporary cuts, somehow manages to be both modern and timeless – this is a fuss and frills-free zone!

With every piece designed in-house and

handmade to order in their Somerset studio, usually by just one or two people, Coco & Wolf is the antithesis of fast, throwaway fashion, and we couldn’t love them any more for it.

Working with high-quality Liberty fabric is something that defines Coco & Wolf – “I love the diversity, the delicate detail and the colours they use,” says Amy. “I also adore the cotton tana lawn cloth that they are printed on.” The attention to detail is seriously impressive, and every piece is pressed, beautifully wrapped and packaged before being sent out to the customer.

GROWING UP FAST As the business grows, Amy is still very much at the heart of Coco & Wolf. “I’m very hands-on in the studio. Although I do very little sewing now, mainly just sewing new samples, I do jump on a machine to help with orders during busy periods, if we need it!” she tells us. “My time is very much mainly spent designing and prepping the new collections, managing the website and our hugely talented team of pattern cutters and machinists. A typical day for me starts with a quick production meeting with the team, making sure all deliveries are on schedule and that fabric stocks are good.

Then I’ll spend an hour or so doing admin and emails, then work on projects, whether that’s new samples, collaboration or shoot planning Below: Little ones look oh so sweet in Liberty!

Amy dreamed up the idea of making Libertyprint childrenswear when she was pregnant with her daughter and realised “there was a lack of well-designed, stylish baby clothing."

WWW.SIMPLYSEWINGMAG.COM 75

a good read

Above: Alongside the childrenswear collections, Coco & Wolf's range has expanded to include swoon-worthy bedding for the nursery – and clothes for mum, too! “I still feel extreme joy and huge satisfaction when I see people wearing my designs, or decorating their nursery with Coco & Wolf,” says Amy. and prepping. At the end of every day, I always spend time working on the website, ensuring it looks fresh and updated.” Pretty busy then!

The design process is still one of Amy’s biggest passions, and starts around five to six months in advance, working with Liberty to secure the prints before the collection starts to take shape. For Amy, inspiration for new designs comes from everywhere – including her own day-to-day life. “I am always looking around me with eyes wide open,” she reveals.

“I design pieces I want to use or have myself.

I think it is so important to understand what you are designing and why you are designing it.” When it comes to choosing a favourite one from her collections, she smiles. “Each new season I say, ‘this is my favourite collection to date’ – and it genuinely is! Our upcoming spring/summer 2019 collection is very exciting, as it is quite bold and different to previous Coco & Wolf collections.” And her favourite ever Coco & Wolf piece? “It has to be our Heirloom Quilt in Betsey Grey,” Amy shares. “It was one of the first pieces we launched when we introduced the bedding and I love it today as much as I did then.”

76 WWW.SIMPLYSEWINGMAG.COM

Of course, there are always difficulties and stumbling blocks faced by small, independent brands, and Coco & Wolf is no exception to this. “Probably the biggest hurdle we’ve had to face is learning to deal with ‘copiers’ – other small businesses who just copy what you are doing, with no originality. There is huge scope for small businesses to do their own thing, but

“RIGHT NOW, I WANT TO CONTINUE TO GROW THE BUSINESS ORGANICALLY AND TO CONTINUE TO BE THE BEST, GO-TO BRAND FOR LIBERTY-PRINT BEDDING.” sadly there are people who just copy your designs.” In this case, there’s no denying that the original is most definitely the best, and it’s impossible to replicate the genuine care and passion that goes into each Coco & Wolf piece.

Constantly evolving, Coco & Wolf now sell beautiful clothing for newborns up to tenyear-olds, nursery bedding, soft toys and even doll’s house bedding, but thankfully it’s not

just the kids who get to benefit from a bit of Coco & Wolf style. You can now shop the women’s fashion collection, including floaty midi skirts and relaxed dresses in the signature Liberty prints, which will guarantee lots of ‘where did you get that?’ compliments. The bedding range (which gives us serious country cottage vibes) also goes up to super king-size.

With every thoughtfully designed piece, the focus is on both style and quality. These are clothes made to last, to be passed down from generation to generation and to tell a story.

Coco & Wolf also offer a bespoke service (in the past they’ve created everything from bridesmaid dresses to personalised bedding) and stock a handful of other independent brands, which align with their stylish aesthetic.

“It happened really naturally,” explains Amy. “We added these brands to complement our ranges and to ensure customers could shop the whole lifestyle we are working towards.

When we shoot the interiors, it is really lovely to be able to offer the accessories we style with the bedding, too.” As well as this, Amy has also been involved in some amazing collaborations, creating enchanting Liberty

a good read

DESIGNS FOR LIFE It’s this beautiful ‘lifestyle’ that is so evident on Coco & Wolf’s glorious Instagram feed (@coco andwolf). Over 20 thousand followers are treated to regular updates of super-stylish interiors, cute Liberty-print clad babies and total #nurserygoals. Providing fans with plenty of inspiration on how to work Coco & Wolf pieces into your own home and wardrobe, Instagram has been hugely important in helping to grow the brand. “Instagram has enabled us to reach customers all over the world,” explains Amy. “It’s a way we can quickly and easily communicate with our customers, as well as reach new ones, too.”

As well as sharing their own photos, Coco & Wolf are also tagged in hundreds of Instagram pictures from happy customers, showing off their latest buys from Coco & Wolf. “I still feel extreme joy and huge satisfaction when I see people wearing my designs, or decorating

Subscribe at www.simplysewingmag.com

their nursery with Coco & Wolf pieces,” Amy smiles. “It makes me feel very proud.”

It was becoming a parent that inspired Amy to set up Coco & Wolf in the first place, so what do her children think of it all? “They love being in the studio with me. They have both started sewing and have projects on the go,” she smiles proudly. “I think they take it for granted that I can just nip into the studio to make them a ‘top with wings on’ (a recent request from my daughter) or a new pillowcase if I haven’t done the washing in time!”

Apart from whipping up last-minute outfit requests from her children, what are Amy’s hopes for the future? “Because the original plan wasn’t ever to have a business, I’ve never had anything like a ‘five-year plan,” she laughs.

“Right now, I want to continue to grow the business organically and to continue to be the best, go-to brand for Liberty-print bedding.”

With her positive attitude, creativity, authentic passion, and Coco & Wolf’s inimitable style (the ‘copiers’ have nothing on the original), we have a feeling she’s going to achieve a whole lot more than that this year.

Visit www.cocoandwolf.com

Above: Fitting in running the business around family life – "they take it for granted that I can just nip into the studio to make them a ‘top with wings on’ (a recent request from my daughter)" – Amy is "very hands-on" in the studio: "My time is mainly spent designing and prepping the new collections, managing the website and our talented team."

All photos: www.cocoandwolf.com

print heirloom woodland dolls with the incredible small British brand Thicket & Thimble, as well as the hugely popular sweatshirt collection with Selfish Mother.

WWW.SIMPLYSEWINGMAG.COM 77

forest friends

If you go down to the woods today, be sure to bring one of Jennifer Pol Colinâ&#x20AC;&#x2122;s critter pouches along for the fun.

78 WWW.SIMPLYSEWINGMAG.COM

coin pouch s YOU WILL NEED

01

02

To make a set of three pouches Q Felt: 38x15cm (15x6in) and some small scraps for ears and mask Q Black KAMsnaps or puffy paint for eyes Q Zip: 13cm (5in) Q Sewing machine zip foot Q Small pom-pom, for the nose Q Hot glue gun Q Double-sided fusible tape Q Matching thread Q Basic sewing kit Q Cording 5mm x 1.5m (¼inx1¾yd) for shoulder strap (optional) Q Double-fold bias tape 8cm (3in) to attach shoulder strap (optional)

03

04

NOTES Q Download the templates from www.simplysewingmag.com/ downloads Q Templates are provided for three animals: raccoon, bunny and fox.

For these instructions, we have made the raccoon.

CUTTING OUT Step one Choose your animal and cut out the corresponding templates.

Step two From the felt cut out the following pattern pieces: Pouch front: cut one.

Pouch back: cut one.

Ears: cut two.

Face: cut one.

MAKING THE ZIP POCKET Step one Trace a 10cmx1.5cm (4x5⁄8in) rectangle onto the pouch front for the zip.

Step two Cut out the rectangle using small, sharp scissors – a seam ripper may help to start a hole. 01 Step three Cut two pieces of double-sided iron-on tape, each 10cm (4in) long. Lay them along the right side (RS) of the zip tape leaving the paper backing in place.

Step four Using a medium heat, press each side for a few seconds with an iron and then peel off the paper backing. The double-sided tape will keep the zip in the correct position when you insert it into the felt fabric.

Step five Place the open rectangle in the pouch front on top of the zip. You should see only the teeth of the zip through the opening. Press to fuse them together. If you are using a synthetic felt, first check the temperature of your iron to avoid melting the felt.

Step six Attach a zip foot to your sewing machine. With the front piece facing up, place it on top of the zip with the fusible tape facing the wrong side (WS) of the felt.

Step seven Sew all the way around the zip

80 WWW.SIMPLYSEWINGMAG.COM

opening. Keep the edge of the presser foot close to the edge of the rectangle. 02

ASSEMBLING THE MASK Step one Place the felt face mask on the pouch front, as shown on the template placement diagram. Pin in place.

Step two Using coordinating thread, sew the top and bottom of the mask to the pouch, close to the edge of the mask. For the raccoon, start and stop the stitching approx 1.25cm (½in) before reaching the outer edges of the pouch front. This will allow you to lift the face mask and stitch underneath it later on.

ADDING THE EARS AND EYES Step one Place the pouch back and front WS together, align all edges and then insert the ears as shown on the template placement diagram. Pin in place.

Step two Following the manufacturer’s instructions, attach the KAMsnaps for eyes following the placement diagram for positioning. If you would rather paint the eyes on using puffy paint, this will be done at the end to avoid mess!

Step three Sew the top of the pouch together to secure the ears in place. 03

ATTACHING A STRAP Step one Cut two pieces of bias tape and fold

each piece in half to create a loop.

Step two Insert a bias tape loop between the layers on each side and pin them in place.

Step three Sew around the pouch close to the edge, starting and finishing at the stitching along the top edge – this will attach the bias loops to the pouch.

MAKING THE POUCH WITHOUT A STRAP Step one Sew all the way around the pouch, close to the edge. For the raccoon, pin the mask out of the way of the seam first.

Step two If you didn’t use KAMsnaps as eyes, use puffy paint now. Squeeze two small drops of black puffy paint onto the marks shown on the pattern. Let it dry overnight. 04 Step three Hot glue a small pom-pom or a tiny piece of felt in place for the nose.

Step four Decorate the purse to your liking using fabric markers, puffy paint or trims.

Project from Sew Creative

by Jennifer Pol Colin, published by FunStitch Studio, a division of C&T Publishing (www.ctpub. com). Photographer: Jennifer Pol Colin.

STITCH y r a r lib

cut out & Keep

Pretty circle stitch is perfect for welcoming a new arrival! Try it with Mollie Johanson's sweet embroidered baby bib design.

N 21 o_

CirCle StiTch

Circ Stitch 01

02

LEARN THE STITCH 04

USE THE STITCH 05

YOU WILL NEED

Q Linen fabric: 25x25cm (10x10in) Q Quilting cotton: 22x8cm (9x3in) Q Stranded cotton in floral colours (see notes) Q Embroidery needle Q Snap fastening Q Basic sewing kit NOTES Q Use a 1cm (3⁄8in) seam allowance.

Q We used DMC stranded cotton in the following shades: Deep coral: 351. Yellow-orange: 722. Yellow: 744.

Dark blue-green: 3849. Light blue-green: 598.

Q Download the templates at www. simplysewingmag/downloads

TIP: ton to match

cot d e d n a your n i s Use str r u o t col n e ra c o c f a c e i r th b st fa a r t n h. o s c i n fi d e cotton inat d r o o c , t brigh 82 WWW.SIMPLYSEWINGMAG.COM

03

WORKING CIRCLE STITCH Step one Make four small angled straight stitches, working them as if coming in from the corners of a square. 01 Step two Bring the needle up through the fabric next to one of the angled stitches. Slide the needle under the next angled stitch, and then continue sliding the needle under each of the four stitches. Repeat this process, working under the stitches and going around at least three times, or as many times as needed to form the circle size you desire. 02

MAKING THE BABY BIB Step one Embroider the floral design onto your linen approx 3cm (1¼in) from the bottom. Stitch the stems and leaves in two shades of blue-green, with back stitch for the stems and lazy daisy stitches for the leaves. Stitch the smaller woven circle flowers with deep coral and the larger flowers with yellow and yellow-orange. Use three strands of stranded cotton for all the stitches. 03 Step two Cut a 22x8cm (9x3in) rectangle of quilting cotton and sew it to the bottom of the embroidered linen so the flowers are near the seam. Cut out the bib template from the sewn front, as well as from quilting cotton and batting.

Step three Sew the front, back and batting with right sides (RS) together. Leave an 8cm (3in) opening for turning. Cut notches into all the curves. Turn the bib RS out. 04

06

Step four Hand-sew the opening closed. Stitch around the entire bib with three strands of stranded cotton and running stitch. 05 Step five Install a snap on the tabs of the baby bib.

Alternatively, you could use hook and loop tape or a button and buttonhole as a closure. 06

templates Here are the templates you will need to make some of the projects in Simply Sewing issue 51.

QUICK FIX PAGE 57 ACTUAL SIZE

Thank you for making these projects from Simply Sewing. The copyright for these templates belongs to the designer of the project.

They work hard to create projects for you to enjoy, so please donâ&#x20AC;&#x2122;t re-sell or distribute their work without permission. Please do not make any part of the templates or instructions available to others through your website or a third party, or copy it multiple times without our permission. Copyright law protects creative work and unauthorised copying is illegal. We appreciate your help.

Subscribe at www.simplysewingmag.com

WWW.SIMPLYSEWINGMAG.COM 83

TEMPLATES

SHOPPER BAG

PAGE 66

ACTUAL SIZE

POCKET ACCENT Cut 1 pocket accent fabric

Trace the angled top section for the pocket accent

POCKET FRONT AND LINING Cut 1 pocket fabric Cut 1 pocket lining fabric Cut 1 pocket interfacing

Trace the pink outline for the pocket front and lining

84 WWW.SIMPLYSEWINGMAG.COM

TEMPLATES

CIRCLE STITCH PAGE 81

ACTUAL SIZE

BIB FRONT AND LINING Cut 1 main fabric Cut 1 backing fabric

Subscribe at www.simplysewingmag.com

WWW.SIMPLYSEWINGMAG.COM 85

TEMPLATES

COIN POUCHES

BUNNY FACE MASK Cut 1

PAGE 78

ACTUAL SIZE

RACCOON EAR Cut 2

FOX FACE MASK Cut 1

FOX EAR Cut 2 BUNNY EAR Cut 2

RACCOON FACE MASK Cut 1

86 WWW.SIMPLYSEWINGMAG.COM

TEMPLATES Trace zip opening onto front only

FRONT AND BACK Cut 2

PLACEMENT DIAGRAMS

BUNNY

RACCOON

Subscribe at www.simplysewingmag.com

FOX

WWW.SIMPLYSEWINGMAG.COM 87

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IncLudes

Back IssUes

PAPER GIFTS

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SIZES 6-20

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US 4 18 EUR 34 48

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IssUe 47

Make a tie-waist dress, bowling bag, ruffle dress, children’s room makes and a classic rag doll toy.

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Stitch a boho dress and top, 1950s-style skirt, circle bag, home spa set, hexie cushion and teddy bear.

IssUe 45

Make a 1940s-inspired tea dress, a boxy top, craft room storage, retro accessories and crocodile toy.

2 Ways to OrdEr

Visit the website: www.sewingquarter.com or call 0800 112 4433 *Calls will be charged at your local call rate, calls from mobiles may vary. All prices exclude p&p. All orders subject to availability.

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The guide FRESH IDEAS WITH FABRIC

PinKing SheArs These cut a zigzag edge on fabric to neaten.

mat on, useful stitches and key sewing techniques on these pages.

MarKing pen Transfer markings to your fabric, then wash them out when finished.

Tape MeaSure

Pins

A flexible fabric tape measure will take accurate measurements.

Stainless steel pins with sharp points are best.

SheArs Keep a pair of sharp shears just for cutting out your fabric.

FabRic CliPs Use these instead of pins when sewing thicker fabrics.

MarKing PenCil Choose a colour that shows up on your fabric.

SmaLl SciSsors Use for snipping threads and cutting notches.

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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The guide FRESH IDEAS WITH FABRIC

HOW TO MEASURE YOURSELF ACCURATELY ALWAYS MEASURE YOURSELF BEFORE you choose a pattern size to cut out. The sizes do vary greatly from pattern to pattern, so it’s always best to measure yourself accurately and then refer to the pattern’s size chart to find your size. The chart will usually be printed on the pattern envelope or on the instructions inside.

Measure yourself in your underwear and preferably in the bra you’ll be wearing underneath

your garment as this can alter the measurements slightly. Use a fabric tape measure as it’ll curve around your body well for accuracy. You can measure on your own if you stand in front of a mirror, but, for best results, ask a friend to help so they can check the tape measure is sitting in the right places. Make sure the tape measure sits snugly around you but is not pulled tight.

Take the measurements shown in the diagram and note them down.

HOW TO USE A PATTERN

Preparing your fabric and cutting out your sewing pattern accurately is just as important as the actual sewing. Wash your fabric before you begin as fabric can shrink and run. Once dry, press it well.

PREPARING THE PATTERN Patterns often come with several options of different finishes so you may have more pieces than you need. The instruction sheet will tell you which pieces to use. Roughly cut out all of the pieces outside the lines then press the pieces using a dry iron on a low heat to remove the folds and creases.

CUTTING OUT THE PATTERN Choose your size using your measurements and the size chart.

Cut along the corresponding lines on your pattern. When you reach any fiddly curves, take care to cut along the correct size lines.

CUTTING LAYOUTS Choose the correct one for the width of fabric you’re using, the

94 WWW.SIMPLYSEWINGMAG.COM

size you’re cutting and the style of garment. Many patterns have more than one option (or view) and each one can have a different layout.

CUTTING OUT Lay your fabric flat and smooth it out. Fold or place the fabric as shown on the cutting layout. Lay the pattern pieces in the order and right side or wrong side up as shown. Check to make sure that the grainlines on the pattern are parallel with the selvedges by measuring. Pin your pattern pieces carefully in place and cut around them through the fabric using a pair of dressmaker’s shears.

TRANSFERRING MARKINGS The markings on the pattern pieces need to be transferred to the fabric. They’re really important for matching up fabric pieces later and for positioning elements such as darts and pockets. You can mark these with chalk, fabric markers, snips on the fabric, or with small tacking stitches.

Back WaiSt LenGth From the top of your spine at the base of your neck to your natural waist

HeiGhT Stand against a wall, barefoot, then measure from the top of your head to the floor

High Bust/CheSt Across the back, under your arms and above the bust

Bust Around the fullest part of your bust

WaiSt Your natural waistline, around the slimmest part of your waist

Hips Around the fullest and widest part of your thighs and bottom

PATTERN MARKINGS

Pleats: These lines are matched Arrows: Grainline arrows are used up to create pleats on the cut to show which direction to pin the out fabric pieces. pattern on the fabric. The grainline runs parallel to the fabric edge.

Darts: These lines are for matching up to create darts within the fabric pieces.

Notches: Shown as triangles or small lines, these are marked on the edges and are mainly used for matching up pattern pieces.

CHOOSING AND BUYING FABRICS

IT’S IMPORTANT TO CHOOSE the correct fabric for your pattern. Most patterns give suggested fabric types that will work best with the style of garment.

Use this to guide you as some patterns need more drape, body or structure than others.

Fabric can be made from natural fibres such as cotton, linen, wool and silk or synthetic fibres such as acetate, acrylic, nylon, polyester, rayon and viscose. All these fabric come in different weights, or thicknesses, which suit different garments.

Lightweight fabrics are ideal for lingerie, nightwear and summer clothing, and include cheesecloth, chiffon, crepe-de-chine, georgette, lawn, muslin, organdie, organza and voile.

Medium-weight fabrics, which work for dresses, shirts, trousers and childrenswear, include calico, cotton, crepe, dupion, linen, poplin and finer wool.

Heavy-weight fabrics are used for garments or projects needing more strength, like coats, jackets, winter wear and bags. Canvas, corduroy, denim, tweeds, velvet and wool are all in this category.

Some patterns require fabrics that are quite fluid and have a good drape to make them hang properly, such as a circle skirt or blouse. Synthetic or synthetic mix fabrics such as rayon, challis, chiffon or lightweight jersey have a better drape to them.

Stretch and knit fabrics such as jersey and lycra are virtually crease free and comfortable to wear. They

can be bought in a variety of thicknesses and qualities depending on their use but are ideal for sportswear and casual clothing.

Interfacing gives an extra layer of support to your fabric – for example, to stiffen facings and collars.

Choose an interfacing that’s slightly lighter than your main fabric, and if you’re using a fusible (iron-on) option then always test it on a scrap of the fabric first as it can melt if the iron is too hot.

Interfacing is available in different weights and as an iron-on (fusible) or sew-in version. With fusible interfacing, press the shiny side to the wrong side of your fabric. Tack sew-in interfacing to the wrong side of the fabric pieces around the edges.

If you’re buying fabric off a roll (or bolt) then you’ll usually buy it by the metre. This is only the length of the fabric you’re buying – the width depends on the width of the roll. Fabrics are sold in standard widths, which vary according to their purpose – for example, dressmaking or quilting fabric generally comes in standard widths of 112cm (44in) or 150cm (60in).

Curtain or soft furnishing fabric is normally 137cm (54in) wide and is really useful for bags and aprons as it’s thicker and stronger than dressmaking fabrics.

The fabric requirements on the pattern instructions will tell you what length of fabric to buy, usually with two width choices. Some patterns, such as large circle skirts, can only be cut from the wider fabrics.

MACHINE NEEDLES

There are many different needle types and they vary by the shape of the point, eye and shaft thickness.

Choose the correct one for smooth stitching.

UniVeRsal A great multi-purpose needle which can be used for woven fabrics and has a slightly rounded point for stitching knit fabrics, too.

Ball PoiNt This needle has a more rounded point than the universal needle so you won’t get snags, ladders or holes. Perfect for knit fabrics.

JeaNs A strong needle, ideal for stitching several layers of fabric or tightly woven fabrics like denims.

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ShaRps With a sharp point, these are for sewing very fine and delicate fabrics and neat buttonholes.

LeaTher This needle’s wedge-shaped cutting point is used to work strong seams on non-woven fabrics like leather, suede and vinyl.

StrEtch Designed for sewing two-way stretch knits such as lycra and silk jersey. It prevents skipped stitches on fine knit fabrics.

QuiLting This will pierce multiple layers whilst keeping straight stitches so it is ideal for patchwork and machine quilting.

TopStItch This has an extra-sharp point and eye, so thicker topstitching thread can be used. It’s perfect for straight stitching with thicker threads on any type of fabric.

Twin Used for parallel rows of stitching such as pintucks and hems.

ONCE YOU HAVE FINISHED stitching your seam, it’s best to press it open on the wrong side so it lies flat. Sometimes it’s better to press it to one side to reduce bulk but the pattern instructions will tell you this.

Usually the seam allowances are left as they are as they help to strengthen the seam, but sometimes they cause too much bulk so they are trimmed to half their original width.

If your fabric has a tendency to fray you should neaten the raw edges after you have worked the seam. There are several ways of doing this. To machine-finish them, set your sewing machine to the zigzag stitch then stitch close to the raw edge all the way along. The zigzag must be small enough to stop the fabric from fraying but large enough to enclose the bulk of the fabric. Practise a few lengths and widths before you begin. Alternatively, you can trim the raw fabric edges with a pair of pinking shears. If you have an overlocker then you can stitch, cut and finish the seams all in one process.

UK SIZE

US SIZE

FABRIC

60

8

Silks

70

10

75

11

80

12

90

14

100

16

110

18

120

20

Lightweight fabrics Medium weight fabrics Medium weight fabrics Medium weight fabrics Heavy weight fabrics Upholstery fabrics/denim Heavy canvas

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The guide FRESH IDEAS WITH FABRIC

GLOSSARY DraPe

A term used to describe the way a fabric hangs under its own weight. Different fabrics have different drape qualities.

Ease The addition of extra fabric in a pattern to allow the finished garment to fit the body well.

EdgEsTitCh A row of stitching on the very edge of a garment, usually 2-3mm (1⁄16-1⁄8in) from the folded or seamed edge. Used to hold the fabric edge neatly in place.

FacIng This pattern piece is cut separately to stabilise and create a neat finish on the edge of a garment, such as the neckline.

fat QuaRter A term used to describe a cut piece of fabric often used for patchwork projects, usually measuring 46x55cm (18x22in).

FinIsHing/NeaTeNing raw EdgEs This is done to stop the fabric edges, particularly of a seam, from fraying. It can be done by machine zigzag stitch, using an overlocker or trimming the raw edge with pinking shears.

GraIn/GraInLine The lengthwise fabric grain, running parallel to the selvedge.

nap Fabrics like velvet, corduroy and fur have hairs or loops which all lie in one direction and are called the nap, or pile. When cutting out pattern pieces make sure the grainline arrow always runs in the direction of the nap.

NotIons Small tools or accessories used

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STITCH GUIDE

For a full glossary of sewing terms visit www.simplysewingmag.com

in sewing such as zips, fasteners, lace and buttons.

RigHt Side (rs) / WroNg Side (ws) The right side of the fabric, also called the ‘public’ side, has the design on it. The wrong side is the other side – this is usually a little duller or faded on plain fabrics.

Seam AllOwAnce The fabric between the raw or cut edge of the fabric and the seam is called the seam allowance. Your pattern will tell you the required seam allowance measurement.

This is usually 1.5cm (5⁄8in) for dressmaking, but can vary.

SelVedge The finished woven edge of fabric, often with the fabric name printed on it. The grain runs parallel to this and the bias diagonally. Called selvage in the US.

StaYsTitChing A line of regular machine stitching usually worked 3mm (1⁄8in) inside the seam line, often used to stabilise curved edges to stop them stretching out of shape.

Tack/TacKing A line of temporary stitching used to hold fabric pieces together before machine sewing, worked in the same way as running stitch.

Known as basting in the U.S.

Use these basic hand stitches to complete your home and dressmaking projects.

LadDer StiTch Used to join together and close 2 3 5 two turned-under edges invisibly, such as on a dress lining or soft 1 toy. Bring the needle up at 1 on 4 one side of the seam, then in at 2 on the opposite side and out at 3, so the stitch is 3mm (1⁄8in) long.

Push the needle back in the opposite side at 4 and out at 5. Repeat this to close the edges.

Slip StiTch This stitch is used most often for hems where you need to stitch 3 2 a turned-under edge to a flat 1 piece of fabric using small, almost invisible stitches. Bring the needle up at 1 on the turned-under hem then back in at 2 and out at 3.

Make this horizontal stitch as small as possible so it can’t be seen from the front. Repeat this by making a vertical stitch back into the turned-under edge then continue in this way to complete the hem.

Whip StiTch Whipstitch is used to join the edges of two fabrics together, such as felt and other fabrics that don’t fray. With the right sides 2 1 together, bring your needle out at 1 on the front of the fabric, then over to the back of the other, and through and out at 2. Continue to work small stitches close together over the top of the two fabric edges.

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.

RunNing StiTch This can be used to gather fabric and as a decorative stitch worked around the edge of a finished 4 3 2 1 project. Bring the needle out at 1, in at 2, then out at 3 and in at 4, and so on. Make the length of the stitches the same length as the gaps between them for an even finish. You can work several running stitches on your needle at once.

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my favourite thing

kimono kimono cool cool

Daisy Braid, aka DIY Daisy, shares a favourite project from her enviable wardrobe of Liberty me-mades.

"My favourite ever sewing project is my Ruffle Sleeved Kimono Dress. I made it about a year ago and it was one of my first ever attempts at doing a pattern hack.

I was inspired to make it by a 2018 Stella McCartney runway look, and used the Kochi Kimono pattern by Papercut Patterns (www. papercutpatterns.com). It's the second time I've made this pattern – the first was in black linen – and for this version I chose the Leila A Liberty tana lawn from The Fabric Store (www. thefabricstoreonline.com). It's got a dark base and all the colours I love, so knew it would work with my black, red and yellow basics.

I made several alterations to the original pattern – I adjusted the length of the sleeve and hem to make a duster-length dress. I love

98 WWW.SIMPLYSEWINGMAG.COM

an oversized fit, so I cut out the largest size, and omitted the ties and instead made up a skinny belt to tie it up with. I also added some ruffles to the shoulder seams for a bit of something extra.

My wardrobe is full of Liberty creations, and this dress is easily one of the most worn pieces I have – I wear Liberty at least five out of seven days a week, and reach for this dress almost every week. I love wearing it open over pants and dresses, or closed and tied around the waist. I'm constantly finding new outfits to pair it with, so I'm sure this dress will remain a favourite for years to come!"

Daisy is a sewing and slow fashion enthusiast from Australia living in Tokyo, Japan. See more of her makes at diydaisyinjapan.wordpress.com

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