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FRESH IDEA

ABRIC ISSUE FORTY SEVEN 21 THINGS TO MAKE

EASY-SEW

DRESSES ! n m u t u a fr 6 WarDrobe UpdAtes to try

STITCH IT! Ruffle dress Overnight bag Chic kimono

Timeless styles for your new-season wardrobe *T&Cs apply

HOW TO: Sew with jersey Denim updates Bag-making skills Bunting Baby gifts

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North East Sewing Machine Sales Whitley Bay NE26 2SY Tullys Sewing Machines Sunderland SR1 3JG

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North West Affordable Sewing Machines Moreton CH46 9AQ Bamber Sewing Machines Eccles M30 7HY Cumbria Sewing and Craft Barrow-in-furness LA14 1DS Etty Lilly Bolton Le Sands LA5 8DB Fabrics at Fleetwood Fleetwood FY7 6DU Hobkirks Sewing Machines Blackburn BB2 2AJ Jaycotts Sewing Machines Chester CH1 4LT Lord’s Sew Knit Centre Accrington BB5 3DE M&S Sewing Machines Heywood OL10 4NN Temptations Bentham LA2 7HQ Weaverdee Middlewich CW10 0GF

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Yorkshire & The Humber A61 Woodseats Sewing Machines Sheffield S8 0RY Fabric Mouse Richmond DL10 7SN Grimsby Sewing & Knitting Grimsby DN32 9DR Sewing Machines and Crafts Keighley BD21 1AD

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Wales Cliffords Sewing Machines Swansea SA1 3JY J&B Sewing Machine Cardiff CF11 8AA J&B Sewing Machine Newport NP19 4SY Sewing Innovations Bodelwyddan LL18 5TQ Sewing Machines Direct Wrexham LL12 0PJ

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South East Brighton Sewing Centre Brighton BN1 1YD British Sewing Centre Boreham Wood WD6 1FJ C & A Supply Cranleigh GU6 8NE CCB Sewing Machines Rochester ME1 1HS Dowlings Wickford SS11 8YJ GTS Sewing Machines Banbury OX16 9PQ Hastings Sewing Centre Hastings TN34 1RE In Stitches New Haw KT15 3NY Lewisham & Deptford Sewing Machines London SE8 3NT Maidstone Sewing Centre Maidstone ME14 1ED Regent Home of Sewing Ilford IG1 2AG Rona Sewing Machines Waltham Cross EN8 7AP Sew Devine Reading RG6 1JQ Stitched By You Alton GU34 1BN Sueco UK Portsmouth PO3 5BZ The Sewing Centre London SW11 3BP The World of Sewing Orpington BR6 75Q The World of Sewing Tunbridge Wells TN1 2QP

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FRESH IDEAS WITH FABRIC Ah, autumn... If the lure of falling leaves and toffee apples isn’t enough to put a smile on your face, then the challenge of creating your best transitional me-mades should do it! Fickle weather, new trends and late-season weddings call for multi-tasking garments that can be layered, accessorised and customised to the max – and that’s where our cover star, Matilda, comes in! Floaty, feminine and ready for any occasion, she’ll take you from office to date-night without any drama. Her pal, Alexa (a jersey smock dress with ruffle detail skirt), is our go-to garment for weekend strolls in the park and coffee with the gals. Just layer her up with your fave longsleeved tee and a pair of tights and you’re good to go. That’s our capsule wardrobes sorted, then!

ISSUE FORTY SEVEN

FRESH IDEAS WITH FABRIC

CONTENTS

eamyp30 r d e Makbunting, clud

ew he atilda dress,M p32

P18 SWEET ACCESSORIES

grEat pAtterNs foR you

how To...

18 CHILDREN'S ROOM ACCESSORIES

37 WORKSHOP: RIBBON ROSES

32 PATTERN: THE MATILDA DRESS

Learn the technique and transform

41 TRANSFORM: JEANS UPDATE

a pre-made skirt with bright blooms

43 PATTERNLESS KIMONO

59 EMBROIDERY: FLORAL SOCKS

51 BAG-MAKING: BOWLING BAG

Learn Peking knot stitch and add

55 PATTERN: THE ALEXA DRESS

a flower border to a pair of socks

61 EMBROIDERED THROW

85 SEWING GUIDE

69 DENIM UPCYCLE: TOTE BAG

Tips, techniques and

71 SEWING ROOM GIFT SET

a glossary

75 HALLOWEEN TRICK OR TREAT BAG 77 FOX PENCIL CASE 79 RAG DOLL TOY

46

Go beHind The sCenes oF paTrick raNt'S braNd, commUnity clotHing

Stitch a toy that be treasured fr yill to come, p79 ears

77

neW seasoN

15 43 69 to win!

Elna SewIng MacHine, WorTh £639.

As much as we lovee the summer, we can't help but get excited about a new season of sewing, and with itts stunningg colour palette and the opportunity for a wardrobe refresh that it brings, autumn has to be one of our faves. From crush-worthy dresses and bags, to quick-sew gifts and décor ideas, this issue is bursting with seasonally-inspired makes, both big and small, to stretch your stitching skills and boost your sewing mojo. All that's left for you to do is stock up on yummy fabrics and supplies – hooray!

Nikki Morgan, Acting Editor

Your chance to win an Elna 570 sewing machine for your craft room.

Turn to p15

goOd readS & ideaS

N! acHine* WI wIng M

Se £639

FRESH 221THINGS TO MAKE

EASY-SEW

DRESSES n! uSuSmS f autu fr 6 WarDrobe UpdAtes to try

STITCH IT! Ruffle dress Overnight bag Chic kimono

Timeless styles for your new-season wardrobe HOW TO: Sew with jersey Denim updates Bag-making skills Bunting Baby gifts

GREAT SUBS OFFERS! P16 SAVE TIME, MONEY AND HASSLE WITH AN ANNUAL SUBSCRIPTION

61

37

* PAPER GIFTS ONLY AVAILABLE ON UK NEWSSTAND

9 PINBOARD: Ideas, events, new fabric 14 SEWING QUARTER: KAFFE FASSETT 15 WIN: AN ELNA SEWING MACHINE 46 PROFILE: COMMUNITY CLOTHING 64 FEATURE: SEW FOR YOUR STYLE 89 COMING UP NEXT MONTH 90 MY FAVOURITE THING

CONTRIBUTORS A huge thank you to this talented lot...

FRESH IDEAS WITH FABRIC

ACTING EDITOR Nikki Morgan SENIOR ART EDITOR Lisa Jones TECHNICAL EDITOR Roisin McKenna PRODUCTION EDITOR Michelle Grady DIGITAL EDITOR Zoe Williams PHOTOGRAPHY Philip Sowels, Dave Caudery and Jesse Wild

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

n imaginatioes.” t u p to t n cloth “I wa children’s back into

“We aim to inspire young people to consider careers in clothing.”

SUBSCRIPTIONS DIRECTOR Jacky Perales Morris DIRECT MARKETING EXECUTIVE Lily Nguyen HEAD OF NEWSTRADE MARKETING Natalie Shearer NEWSTRADE MARKETING MANAGER Robert Brock

Paul Torre, Karen Flannigan

KIRSTY HARTLEY

PATRICK GRANT

Kirsty is the designer behind childrenswear label Wild Things and the author of two sewing books: Wild Things: Funky Little Clothes to Sew and Wild Things to Make. Get ready for Halloween with her spook-tastic treat bag and bunting on page 75.

Patrick Grant is a judge on BBC’s The Great British Sewing Bee and the creative director at Savile Row tailor Norton & Sons and E. Tautz & Sons. He’s on a mission to revolutionise UK manufacturing with his new clothing label. Discover more on page 46.

U JUNIOR PRODUCTION COORDINATOR Lily Owens Crossman PRODUCTION MANAGER Sîan Rodgers / Emma McGuinness PRODUCTION DIRECTOR Sarah Powell

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

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

FRONTLINE Call +44 (0)1733 555161

BY WILLIAM GIBBONS

“Stitching ribbon flowers is so simple, and looks gorgeous!”

“Relax, work at your n pace, and enjoy the stitching ow process.”

ZOE PATCHING

NANCY NICHOLSON

Zoe is a freelance embroiderer and crafter with over 15 years’ experience on craft magazines.

As well as designing and stitching her latest commisions, Zoe also teaches hand embroidery.

Try her ribbon lowers tutorial on page 37.

Nancy Nicholson is an embroidery designer known for her folk art-inspired motifs, and is the author of two embroidery books. She shows you how to decorate a cosy throw with a how-to from her latest book, Big Embroidery, on page 61.

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

THURSDAY 4TH OCTOBER 2018 No gift included? Ask your newsagent.

Covergift may be unavailable overseas.

OTHER CONTRIBUTORS Julia Bobbin, Jo Carter, Jessica Entwistle, Sarah Dawson, The Fold Line, Sarah Gane, Mollie Johanson, Lisa Lam, Portia Lawrie, Karen Lewis, Louise Orth, Laura Pritchard Special thanks to: Carolyn Bunt

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IDEAS

INSPIRATION

ACCESSORIES

WEBSITES

EVENTS

STUFF

LUXE LIVING Soft blankets, chunky knits, cosy nights in and endless mugs of hot chocolate – yes, winter is on its way, and we can’t wait to get sewing for it! Stoff & Stil’s autumn/winter fabric collection is all about plush textures, jewel colours and shimmering metallics, perfect for giving your living space a luxe look for winter lounging – think velvet cushions, elegant linen drapes and modern quilts. Find the fabrics and patterns at www.stoffstil.co.uk

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TAKENOTE Remember how W

exciting it was to get new stationery at the start of the school year? We’re reliving that feeling with the Dressmaking Project Bible from Stationery Geek, the ultimate sewing diary with space for cataloguing the details for 50 projects. There are sections for fabric types and quantities, pattern adjustments, swatches, sketches and more, so you’ll have all the key project details to hand in one place. £7.49 from www. stationery-geek.co.uk

RigHt as RaiNe Casual, comfy and oh-so-cute, the 1940sinspired Raine Dress pattern by Jennifer Lauren has us jitterbugging our way to our sewing machines! With an all-in-one facing, invisible side-seam zip and a waistband, it’s a fab skills-boosting frock. PDF approx £10, www.jenniferlaurenhandmade.store

RETAIL THERAPY We’ll take any excuse to go shopping for fabric – a new pattern, a change in the weather, an urgent need to make a pretty new dress – so we’ll be heading out to our fave haberdashery to show off this bright French-style net shopper, ready to fill up with autumnal prints for our new-season stash. It's available in a rainbow of hues, so you can even colour-match your bag to your memades! £4.95, www.rexlondon.com

FOREST FLORALS Proving that summer doesn’t have the monopoly on beautiful blooms, Maureen Cracknell’s latest range for Art Gallery Fabrics showcases the rich, golden shades of autumn foliage. She evokes a walk through a forest on a crisp autumn day with all its flora and fauna, from scurrying squirrels and curled-up foxes, to falling acorns and flowers bursting into bloom before the winter chill. A warm colour palette of ochre, pumpkin, aubergine and teal gives the collection a cosy feel that lends itself to home projects, from quicksew scatter cushions and simple quilts to detailed patchwork. See the collection at www.artgalleryfabrics.com

10 WWW.SIMPLYSEWINGMAG.COM

Bright-eyed and bushy-tailed! Cute critters and autumn foliage star in Art Gallery's new collection.

Pinboard

THE GOLDEN THREAD Kassia St Clair (£20, John Murray) From the mummies of Ancient Egypt to the silken dragon robes of Imperial China, the woollen sails of Viking longboats to the lab-blended fibres that have allowed astronauts to moonwalk, Kassia charts a history of human civilisation and creativity through the fabrics, manmade and natural, that have changed and shaped the world we live in. www.hodder.co.uk

mini profile NANCY NICHOLSON Everything from cats to teapots feature in Nancy Nicholson’s colourful embroidery designs, which have a magical, whimsical quality to them that reflects her folk-art influences – and has us itching to pick up a needle and thread to embroider our own.

Textile art has always been a big part of Nancy’s life: her mother, Joan Nicholson, was an accomplished stitcher and embroidery book author. “My main influence is my mother, who left me her sketchbooks when she died,” says Nancy. “I learnt sewing from watching her while she was writing her embroidery books – she would toss me bits of fabric and thread to keep me quiet while she worked. We had a very similar aesthetic (she also loved folk art) and we worked well together.”

Nancy has always “been very visual in the way I think,” although embroidery wasn’t her first creative medium of choice. “I got a place at art college to study graphic design, and then went to the Royal College of Art for an MA in Fine Art Textiles. My crafting interests informed this more cerebral work, but it was only when I had children that I began working with one-off machine embroidery pieces, which I exhibited for the next ten years creating new collections each year.”

Launching her own embroidery business “was an idea that was kicking around in my head for many years,” but it was a breast cancer diagnosis seven years ago that gave

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her the motivation to give it a go. “Though I’m fine now, that kind of experience concentrates the mind, so once I was well enough I began to develop the embroidery kit idea in earnest.”

Now, her working day is “pretty full on. I’ll be up and straight to my computer in a nightie, designing something or working on admin.

I do the design work in my home office but I have a workshop a couple of miles away where I’ll go to pack orders, then it’s home to be designing again until it’s time to eat.”

While Nancy advises newbie stitchers to “relax, work at your own pace, and enjoy,” she’s certainly keeping up the pace when it comes to adding to her collection – alongside her new book, Big Embroidery, she's been working on a collection of iron-on transfers, which allow you to transfer her designs onto any fabric, ready to stitch. “The first designs are already available from our website, but the great thing about the technology behind it is that we can add new designs relatively easily, so you can expect to see many more.”

Visit www.nancynicholson.co.uk, and stitch a throw from Nancy’s new book on page 61.

Nancy's top embroidery tip? "relax, work at your own pace, and enjoy."

TINY STITCHES Irem Yazici (£12.99, Search Press) Small-scale and sweet, these 20 projects from Instagram sensation Irem, aka @_.baobap._, are just the thing for jazzing up a coat lapel, jeans pocket or bag, or to give as a gift. No more than ten stitches are used to embroider the beginner-friendly designs, and there are 50 miniature motifs included for you to get creative with. www.searchpress.com

TILDA HOT CHOCOLATE SEWING Tone Finnanger (£16.99, SewandSo) Warm your heart and your home with 20 autumnal projects to make – quilts, softies, bags, dolls, accessories and purses are all shown made in the Tilda BirdPond fabric range to inspire you. The seasonal designs include reindeer, mice, ducks, birds, houses and more. www.sewandso.co.uk

SEW PERFECT PETS Helen Rhiannon (£12.99, Search Press) Add character and colour to your space with Helen Rhiannon's fun and practical pet-themed projects for everyday living. Fill every room of your home with handmade animal pals, from a snake draught excluder, owl doorstop and sheep hot water bottle cover, to a fox pillow, elephant tea cosy and dog oven mitt, with full templates and easy-to-follow stepby-step instructions. www.searchpress.com

WWW.SIMPLYSEWINGMAG.COM 11

Pinboard DREAM MACHINE If you’re ready to W

take your sewing to the next level, or even launch a handmade business, the Elna eXcellence 720 Pro machine offers the perfect combination of performance and durability. Inspired by industrial models, this hard-working machine has a choice of 200 stitches, three LED lights, variable speed control and an automatic thread cutter – all you need to bring is the fabric and ideas! Exclusive to Sewing Quarter – see more at www. sewingquarter.com

PreTty GatHers We want to get as much wear as possible out of our memades, so we’re stocking up on pattern designs we can enjoy this season and the next – and Sew Over It’s new Marguerite Dress is exactly the kind of frock we’re looking for! This feminine gathered style will look just as lovely with sandals and ballet pumps as it will with tights, boots and a cardi in winter. PDF pattern £7.50, www.sewoverit.co.uk

3 of the best FELINE FINE Take a walk on the wild side and try the animal -print trend with our purrfect leopard picks.

1. Update your gallery wall with a piece of paw-some leopard hoop art, hand-embroidered using the needle punch technique. £11.99 from www.imaginarytwins.etsy.com 2. Not quite feeling brave enough for all-over leopard print? Start subtle with this breezy scarf (you’ll be stitching a leopard-print dress to match before you know it). £22, www.oliverbonas.com 3. Have a cat nap under this luxurious throw in an abstract print, made in England from cosy merino lambswool. £179.95, www.torimurphy.com

12 WWW.SIMPLYSEWINGMAG.COM

STAPLESTYLE When the weather gets cooler, there’s one item we reach for in our wardrobe every day – our trusty denim jacket.

This staple garment is just as pleasing to sew as it is to wear, so we’ve got our topstitching thread and denim fabric at the ready for Merchant & Mills’ Ottoline, a workwear style with a boxy shape, cuff and side-seam splits and an inside pocket, plus the option to omit the vent detail for a simpler make. We can't wait to jazz ours up with pins and patches! £14.50, www.merchantandmills.com

Pinboard Cool for school Get the kids new-term ready with school-day essentials you'll probably want to keep yourself.

ELEGANT EVERYDAY Swish your way into autumn with Victory Pattern’s chic Ulysses Trench. We love its classic details and contemporary floaty silhouette, ideal for throwing on over our me-mades on chilly days. It's an unlined jacket, so we’ll be delving into our stash of colourful bindings to finish the seams for a pro look. Visit www.victorypatterns.com

FeathEr lighT Whether sewing is the only craft for you or you're a multi-disciplined maker, Daylight Company’s Wafer 3 lightbox is an invaluable creative tool. From tracing patterns to sketching, embroidery to embossing, scrapbook to calligraphy, this large-scale A2 lightbox is ideal for illuminating detailed work. It has a fully dimmable LED, an even spread of light from edge to edge, and is lightweight enough to take along to workshops. £250 from www.daylightcompany.co.uk

ART ATTACK Doodle on bags, bottles, pencil cases – or just about anything – with POSCA's paint pens. From £1.85, www.cultpens.com SNACK HAPPY A cute retro print and eco-friendly fabric? Sorry, kids – we might have to have this one for our work lunches. £20, www.aslice ofgreen.co.uk

out & about

SKILLS, SHOWS & EVENTS 6 & 7 OCTOBER Leather Tote Bag – Weekend Workshop. The Welsh Mill Hub, Frome. Learn traditional leatherworking and make a leather tote. www.facebook.com/loveallthingscreative

UNDER THE SEA Add a sprinkling of Disney magic to the school day with a stationery set starring all their fave characters.

From £1.09 each, www.papier.com

11-14 OCTOBER

DINO DUDE With a set of mini lunch boxes this cool, they'll never notice that they're filled with healthy snacks... £10 for a set of three, www. nhmshop.co.uk

The Knitting and Stitching Show, Alexandra Palace, London. A four-day extravaganza of inspiring craft workshops and stalls. www. theknittingandstitchingshow.com

18-20 OCTOBER Craft4Crafters, Bath & West Showground.

A weekend of crafting classes and stash shopping set over two exhibition halls and a balcony area. www.craft4crafters.co.uk

UNTIL 25 NOVEMBER

Tracing large-scale patterns is a doddle with Daylight's Wafer 3 lightbox.

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Rip It Up: The Story of Scottish Pop. National Museum of Scotland, Edinburgh. The first major exhibition dedicated to Scottish pop music, with iconic costumes, memorabilia, instruments and props. www.nms.ac.uk

CUTE CARRY-ALL This sweet smallsize backpack is perfect for a little learner's school essentials. £35, www.sage comme1image. etsy.com

20% OFF Your First OrdEr* Use cOde

ss20Sept

Sewing Quarter is the only channel dedicated to all things sewing.

Watch it live on Freeview channel 73 and Sky channel 687, and buy online at www.sewingquarter.com

ColOur Crush

T

he arrival of autumn has got us in the mood for rich colour palettes and luxurious patterns.

Cue colour expert and designer Kaffe Fassett! Famous for his captivating (and super-bright) quilts and fabrics, his work is always guaranteed to inspire our next show-stopping piece.

Whatever you’re sewing this season (we’re thinking eye-catching clutch), don’t miss the chance to bag yourself some of his bold fabrics, and inspiring books, from Sewing Quarter. Get 20% off your first order with discount code SS20SEPT (T&Cs apply*).

Available at www.sewingquarter.com

Kaffe Fassett Collective 100% cotton fabric collection, from £7.49 per 0.5m

Kaffe’s boks make inspiratinal gifts fr colur enthusiasts and sewers alike.

Bold Bloms, £21.99

LIVE everyday 8am - 12 noon · FREEVIEW CHANNEL 73 · SKY CHANNEL 687 · www.sewingquarter.com *Terms & Conditions: You will receive 20% off on your first order with Sewing Quarter when you enter code SS20SEPT at checkout. This offer applies to new customers only and can be redeemed on both web and auction products when you buy online at www.sewingquarter.com. This offer is valid from the 1st of September 2018 until the 31st October 2018 and can only be used once.

This offer excludes Sewing Machines, electricals and Westalee rulers. This offer cannot be used in conjunction with any other offer. For full T&C’s please visit our website at www.SewingQuarter.com

Win an elna sewing machine!

Enter now for your chance to win an Elna 570 sewing machine for your craft room, worth £639!

Prizeh wort

9 3 6 £

hether you’ve outgrown your beginner’s sewing machine, worked your current model to within an inch of its life, or just fancy a shiny new upgrade, we suggest you take a look at the wonderful Elna 570!

This suave-looking sewing machine is a great all-rounder with lots of exciting and time-saving features, including a built-in needle threader, automatic thread cutter, extra-high presser foot, and an array of special stitch combos. This clever model also comes with a free arm for sewing

tubular items, such as sleeves or trouser hems, and an extension table for stitching large-scale projects like quilts. Priced at £639 the Elna 570 is available to buy now from our pals over at Sewing Quarter (www.sewing quarter.com) but we’ve teamed up with them and the lovely people at Elna to give one away this month! To be in with a chance of winning this amazing prize, enter now at www. simplysewingmag.com and head to www.elna.com to view Elna’s full range of sewing machines.

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

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Children's room

Sweet sleep Create a modern haven for little ones to snooze, dream and play with adorable décorations and toys.

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

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SheEp PluShie 1, 2, 3, 4... there are so many sheep hidden in this sweet set of children's room makes, that we doubt you'll have any trouble getting your little cherubs off to the land of nod! And, while we know we shouldn't have favourites, we can't help but be drawn to our friendly sheep plushie (or Shirley as we have decided to call her), which can be easily scaled up or down to stitch a woolly pal in any size you like, from a cute pocket pal to a giant snuggle toy.

QuiLted toy bag So many toys and not enough space to store them... or so we thought, before whipping up this generously proportioned storage bucket! It's finished with chic quilting for added stability and cute, coordinating fabric handles for easy carrying, when your toddler (and their toys) are on the move. We'll be sewing up a version or two of these neat storage bins for our craft rooms, too!

Children's room

SunShine Play mat Little explorers need a soft place to perch when they are playing and building, and this super squishy play mat is our new go-to design. Adding a little sunshine to your floors, it's sun-ray-like-spokes can be made up in super-soft fleece for snuggle time, or a mix of different textured fabrics for sensory play. If making for toddlers, the design can easily be enlarged to accommodate them, along with a playmate or two as well!

RaiNbow CusHion Lift your spirits come rain or shine with this fun rainbow-shaped cushion sewn up in nursery-friendly prints. It might not have a pot of gold at the end but it does have chic clouds which provide added back support – for you and the little ones – during story time. See, dreams really can come true.

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Children's Room

CloUd BunTing It's astounding just how much a simple strand or two of bunting can soften and brighten a room, and this clever cloud bunting in pastel shades is a testament to that.

Sewn from scraps of fabric, the end result far exceeds the tiny amount of time and effort needed to whip up these dreamy shapes, which is a big win for us busy sewists.

Not only does the bunting make a welcome addition to a baby shower basket, it looks fabulous festooned across our craft rooms, and of course, the Simply Sewing office!

AlpHabet Wall HanGing Help little ones to learn their ABCs and prettify their bedroom walls at the same time with this adorable hanging alphabet art. Mix and match patterned fabrics for a homespun look or switch fabric for felt in rainbow shades for a bolder design. And, if you're feeling poetic, why not go one step further and use our alphabet templates to spell out uplifting sayings or rhymes? Or just rows of 'Zzzzzzzzzzzs' for sleepy heads.

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ALPHABET WALL HANGING YOU WILL NEED Q Fabric A: 76x80cm (30x32in) Q Fabric B: 16x85cm (7x34in) Q Fabric C: 16x25cm (7x10in) Q Fabric D: 16x25cm (7x10in) Q Fabric E: 16x25cm (7x10in) Q Wadding: 30x42cm (12x17in) Q 2 dowel poles, 1.2x50cm (½x9¾in) Q String: 100cm (40in) Q Bondaweb: 30x42cm (12x17in) Q Pattern paper: 30x42cm (12x17in) Q Stranded cotton in pink and grey Q Erasable fabric pen Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from Counting Sheep by Makower. For stockists visit www.makoweruk.com NOTES Q The seam allowance is 1cm (3⁄8in).

Q Download the template from www. simplysewingmag.com/downloads

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CUTTING OUT Step one From Fabric A cut: Front and back: cut two 40x52cm (15¾x20½in).

Casing: cut two 12x35cm.

Step two Trace a mirror image of the template onto paper. Place the Bondaweb onto the mirror image and draw around the letters and sheep/ flower shapes. Cut out the Bondaweb shapes, leaving 2mm (1⁄8in) outside of each edge.

Step three From Fabric B cut: Binding: two strips 4x85cm (15⁄8x33¾in). Join together to make a strip 170cm (67in) long.

Step four From Fabrics B, C, D and E cut: Letters: press the Bondaweb onto the wrong side (WS) of your chosen appliqué fabrics and then cut out the shapes.

ADDING THE APPLIQUÉ Step one Draw a line 1cm (3⁄8in) in from each of the four outside edges of the front fabric piece. Then draw another line 5cm (2in) in from each of the outside edges – this rectangle should be the same size as the outline of the template.

Step two Place the marked front fabric piece on top of the right side (RS) of the template (not the mirror image). Transfer the outline of the appliqué onto the RS of the fabric using an erasable pen. 01 Step three Peel off the backing paper from the Bondaweb-backed pieces and press the shapes

onto the fabric. We started with the sheep, building up layers with the legs first, then the sheep body and finally the sheep head. 02 Step four Topstitch around the edges of all the appliqué, 2mm (1⁄8in) from the raw edges. 03 Step five Thread a needle with three strands of grey stranded cotton and embroider the sheep facial features and around the edge of the fleece on their head with a back stitch.

Step six Thread a needle with three strands of pink stranded cotton and embroider the centre of the flowers with a satin stitch. We also back stitched around the edge of the centre. 04

ADDING THE DOWEL CASING Step one Take the casing fabric pieces and fold the short edges in to the WS by 1cm (3⁄8in), press and sew into place, then fold in half again lengthways and press. 05 Step two Pin each casing strip centrally to the both the top and bottom edges of the backing fabric piece, aligning all raw edges. Staystitch in place. 06

BINDING THE WALL HANGING Step one Take the backing fabric piece and lay it WS up, place the wadding piece on top, then the appliqué front RS up on top to create a sandwich.

Staystitch all the way around the outside edge to hold in place. 07

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Step two Using a 1cm seam allowance, sew the binding strip to the front of the hanging RS together. Start along the bottom edge and leave 10cm (4in) of the binding overhanging at the starting point. To create a mitred corner, stop sewing 1cm (3⁄8in) from the first corner, backstitch, and then take the hanging off of the machine.

Step three Fold the binding up at an angle where the stitching ends. Fold the binding back down along the next side of the hanging.

Step four Start sewing at the top edge, sewing over the folded corner and down the next side.

Repeat until you reach the start of the sewn-on binding. Stop sewing 10cm (4in) from the end of the binding.

Step five Mark the point where the binding strips meet with an erasable pen. Sew the strips together at the marked point. Check the binding pieces line up then trim away any excess and finger-press the seam open. Finish sewing the remainder of the binding onto the appliqué front.

Step six Press the binding strip to the back of the hanging. Tuck the raw edge under by 1cm (3⁄8in) and topstitch into place. 08

Try fussy-cutting prints to decorate your hanging with different shapes, animals and motifs.

INSERTING THE DOWEL POLES Step one Insert one dowel pole into the upper casing and one into the lower casing. Tie string to the ends of the upper pole to finish.

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children's room Quilted Storage Bag

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YOU WILL NEED Q Main fabric: 100x129cm (40x51in), for the outer Q Lining fabric: 110x129cm (43x51in), for the lining, binding and handles Q Bosal foam wadding: 120x129cm (48x51in) Q Pattern paper: 50x50cm Q Twine Q Pencil Q Erasable fabric pen Q Matching thread Q Basic sewing kit MATERIALS USED Q The fabrics used are from the Counting Sheep collection by Makower. For stockists visit www. makoweruk.com Q The bosal foam wadding is from www. sewingstudiobath.com NOTES Q If your fabric has a directional print you may not have enough width to cut a strip 129cm (51in). In this case, you will need to cut two pieces 46x65.5cm (181⁄8x25¾in) and join them together to make a 46x129cm (18x51in) strip.

Q Bosal is extra-firm foam which holds its shape. You may find it easier to sew with a walking foot.

Q Finished size: diameter 40cm (16in), height 45cm (18in).

CUTTING OUT Step one From the main fabric cut: Base: 50x50cm (19¾x19¾in).

Outer bag: 46x129cm (181⁄8x50¾in).

Step two From the lining fabric cut: Base lining: 50x50cm (19¾x19¾in).

Bag lining: 46x129cm (181⁄8x50¾in).

Handles: cut two 8x28cm (31⁄8x11in).

Binding: cut two 9x70cm (35⁄8x275⁄8in).

Step three From the foam wadding cut: Base wadding: 50x50cm (19¾x19¾in).

Bag wadding: cut one 46x129cm (181⁄8x50¾in).

Handle wadding: cut two 3x28cm (1¼x11in).

main fabric side of the sandwich. Mark the eighth points to make attaching the bag sides easier.

Step four Quilt the sandwich within the circle shape. We quilted horizontal and vertical lines every 4cm (15⁄8in) on our base. 01 Step five Cut out along the circle line then zigzag stitch around the raw edge.

MAKING THE BAG SIDES Step one Repeat as above to create a 46x129cm (18x51in) quilt sandwich. Draw quilting lines as before then quilt all the way along the length.

Step two Zigzag stitch along the two short raw edges and bag bottom edge to finish.

Step three Pin or clip the two short edges RS together. Sew with a 1.5cm (5⁄8in) seam allowance.

Press the seam allowance open.

Step four Topstitch 1cm (3⁄8in) from both seams. 02

MAKING THE BAG BOTTOM

ASSEMBLING THE BAG

Step one Lay the base lining wrong side (WS) up, place the base wadding on top and the main fabric base piece right side (RS) up on top. Seal together using manufacturer’s instructions.

Step two Fold the pattern paper square in half and then in half again. Mark a 26cm (10¼in) quarter circle on the paper using a pencil tied to twine.

Cut out to create a 52cm (20½in) paper circle.

Step three Draw the outline of the circle onto the

Step one Mark the eighth points on the bottom of your bag outer. Pin or clip it to the bag base RS together, matching marked points.

Step two Sew with a 1cm (3⁄8in) seam allowance. 03

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the foam. Turn the other edge to the WS by 1cm and press, then fold it over again to encase the other raw edge and topstitch all the way along.

Then topstitch along the opposite edge. Repeat for the other handle.

Step two Pin and then staystitch a handle to the bag outer 3cm (1¼in) out from the seam for both ends. Repeat for the second handle. 04

ATTACHING THE HANDLES Step one Place a handle wadding piece in the middle of the WS of a lining fabric handle piece and fold one edge of the fabric over to sandwich

ATTACHING THE BINDING Step one Place the binding strips RS together at a 90-degree angle. Sew diagonally where the two strips meet. Trim off the excess and press.

Step two Starting at one of the side seams, pin the binding to the bag top, RS facing. Leave 10cm (4in) of binding overhanging at the starting point.

Step three Use a 1cm (3⁄8in) seam allowance to stitch the binding to the top of the bag.

Step four Stop sewing 10cm (4in) before reaching the starting point and remove the bag from the machine. Mark the point where the binding strips meet with an erasable pen and then sew the strips together at the marked point. Check that the binding pieces line up then trim away the excess binding and finger-press the seam open. Sew the remainder of the binding to the top of the bag.

Step five Press the binding strip to the inside of the bag. Turn the raw edge to the WS by 1cm (3⁄8in) and topstitch all the way around to finish.

children's room Sunshine Mat

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YOU WILL NEED Q Fabric A: 60x120cm (24x48in), for the centre of the mat Q Fabric B: 60x65cm (24x26in), for the petals Q Fabric C: 60x65cm (24x26in), for the petals Q Fabric D: 60x65cm (24x26in), for the petals Q Fabric E: 60x65cm (24x26in), for the petals Q Fabric F: 60x65cm (24x26in), for the petals Q Wadding: 60x120cm (24x48in) Q Stuffing: 500g Q Paper: 110cm square, plus 15x20cm for the petal Q Twine Q Pencil Q Erasable fabric pen Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Counting Sheep and Essentials collections by Makower. Sheep Meadow, Yellow. Ref: 2018/Y. Counting Sheep, Clouds. Ref: 2020/T. New Gingham, Grey. Ref: 920/ S65. Spot, Primrose. Ref: 830/Y2. Star, White. Ref: 306/W1. For stockists visit www.makoweruk.com NOTES Q Use a 1cm (3⁄8in) seam allowance unless otherwise stated.

Q Download the template from www. simplysewingmag.com/downloads

CUTTING OUT Step one To create the template for the large circle, fold the 110cm square paper in half, and then in half again. Mark a 26cm (10¼in) quarter circle using a pencil tied to a piece of twine on your paper. Cut out your paper quarter circle. Then unfold the paper to reveal the 52cm (20½in) paper circle. Create your petal template with the smaller paper piece.

Step two From Fabric A cut: Mat front: 60x60cm (235⁄8x235⁄8in).

Mat back: 60x60cm (235⁄8x235⁄8in).

Step three From the wadding cut: Front wadding: 60x60cm (235⁄8x235⁄8in).

Back wadding: 60x60cm (235⁄8x235⁄8in).

Step four From each of Fabrics B, C, D, E and F: cut six pieces 21x18cm (8¼x71⁄8in).

CREATING THE MAT CENTRE Step one Draw around the circle template onto both Fabric A pieces on the right side (RS) of the fabric using an erasable pen. Mark the quarter and

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eighth points as this will make it easier to join later.

Step two Pin each Fabric A piece wrong side (WS) together to a wadding piece. Tack all the way around the circle just inside the drawn outline to hold in place. Quilt the fabric to hold together in your chosen design – we drew cloud shapes with an erasable fabric marker, and then quilted along the drawn lines. 01

aligning all raw edges.

Step three Staystitch the petals to the mat. 03 Step four Ensuring all the petals are as flat as possible, place the wadded backing circle on top RS facing down. Pin in place, aligning the eighth marked points around the circle.

Step five Sew together, leaving a turning gap. 04

FINISHING OFF MAKING THE PETALS Step one Take two matching petal fabric pieces.

Draw around the petal template on the WS of one of the pieces. Pin the two pieces together. Sew together using a 1cm (3⁄8in) seam allowance from the petal short edge around to the other short edge. Backstitch at the start and finish.

Step two Clip off the excess fabric then turn RS out and press.

Step three Stuff each petal, but not too firmly. Pin the open edges together and tack using a 3cm seam allowance. Repeat for all the other petal pieces to make 15 petals. 02

ASSEMBLING THE MAT Step one Cut around the circle drawn line of both the front and back circle pieces to remove the excess fabric.

Step two Take the front mat circle and pin the petals evenly all the way around the outside,

Step one Turn the mat RS out and press. Tuck the turning gap edges inwards and pin in place, then topstitch all the way around the circle to finish and close the turning gap.

Step two Remove the staystitching from the petals and even out the stuffing for each one to finish.

TIP: om poms for

p r o s n o b Add rib sunshine mat e them h c a tactil a t t a re to u s e b 't be t n a c jus y e so th y l e r nds! u a c h se e l t t i by l t u o d e l pul WWW.SIMPLYSEWINGMAG.COM 27

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Sheep YOU WILL NEED Q Fabric A: 40x50cm (16x20in), for the main body Q Fabric B: 30x40cm (12x16in), for the head and legs Q Stuffing Q Stranded cotton in pink and grey Q 10cm (4in) embroidery hoop Q Erasable fabric pen Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from Counting Sheep by Makower. New Gingham, Grey.

Ref: 920/S65. Spot, Primrose. Ref: 830/Y2.

For stockists visit www.makoweruk.com NOTES Q Download the templates from www. simplysewingmag.com/downloads Q The templates do not include a seam allowance as the outer edge of each template is the stitching line.

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CUTTING OUT Step one Download, print and cut out the templates for the sheep.

Step two From Fabric A cut: Front body: 15x20cm (6x8in).

Back body: 15x20cm (6x8in).

Step three Draw around the template for the body onto both the front and back body fabric pieces, making sure you have a mirror-image pair. Fold the rest of the fabric in half with right sides (RS) together and draw around the templates for the fleece tail and fleece head pieces and pin.

Step four From Fabric B cut: Front head: 15x15cm (6x6in) square. Using an erasable fabric pen, draw around the head and face details onto the RS of the fabric square.

Back head: 15x15cm (6x6in) squares.

Step five Fold the remaining Fabric B piece in half RS together and draw around the leg template four times onto the WS. Pin together the two layers of fabric.

RS out and lightly stuff, leaving the ends open.

Step three Take the Fabric A pinned fleece head and fleece tail pieces and sew them together along the marked lines, leaving a turning gap. Cut off excess fabric then turn RS out and stuff. Close the turning gaps with a ladder stitch.

Step four Pin the embroidered front head fabric to the back head fabric square with RS facing. Sew together around the template outline, leaving a turning gap between both ears. Cut away any excess fabric, clip the corners and turn RS out.

Stuff and close as before. 02

MAKING THE SHEEP BODY

MAKING UP THE SHEEP SECTIONS

Step one Staystitch the four legs onto the RS of one of the body pieces, noting the angle at which the legs will come out once sewn in.

Step two Pin the back body piece on top, making sure the template lines line up. 03 Step three Sew together, leaving a turning gap where the sheep head will be sewn on. Trim any excess fabric, then turn the sheep RS out, stuff and close as before.

Step one Place the Fabric B sheep head marked fabric into an embroidery hoop with the RS facing upwards and embroider the facial features – we used a mix of back stitch and satin stitch. 01 Step two Sew along the marked leg lines on the pinned fabric. Cut out close to the sewn lines. Turn

Step one Sew the fleece head piece on top of the sheep head in ladder stitch all the way around. 04 Step two Repeat to sew the fleece tail and sheep head onto the body.

FINISHING OFF

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Rainbow Cushion YOU WILL NEED Q Fabric A: 70x50cm (28x20in), for the cushion background Q Fabric B: 24x32cm (10x13in), for the clouds Q Fabric C: 30x28cm (12x11in), for the rainbow bottom ring Q Fabric D: 34x32cm (14x13in), for the rainbow middle ring Q Fabric E: 40x42cm (16x17in), for the rainbow top ring Q Bondaweb: 40x80cm (16x32in) Q Stuffing: 350g Q Matching sewing thread Q Erasable fabric pen Q Basic sewing kit FABRICS USED The fabrics used are from the Counting Sheep and Essentials collections from Makower. Visit www.makoweruk.com NOTES Q The seam allowance is 1cm (3⁄8in) unless otherwise stated.

Q Download the template at www. simplysewingmag.com/downloads

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CUTTING OUT Step one Download, print and cut out the templates for the rainbow cushion.

Step two Create a mirror-image of the template so you have a full rainbow with two clouds.

Step three From Fabric A cut: Background front: 35x50cm (13¾x19¾in).

Background back: 35x50cm (13¾x19¾in).

Step four Place the Bondaweb onto the template and draw around the elements, ensuring you leave space between each element. Repeat to create the Bondaweb pieces for the cushion back.

Cut out the Bondaweb outside of each drawn line.

Step five Press Bondaweb onto the wrong side (WS) of the Fabric B cloud fabric.

Step six From the interfaced fabric B: cut out all four clouds.

Step seven From Fabrics C-E cut out two sets of the rainbow sections in the same way as for the clouds. Cut a little over the inside drawn lines for the two outer rainbow elements – this is so that the middle rainbow ring sits on top and there is no backing fabric showing. Cut any excess over the short edges of all the rings so that they sit underneath the clouds.

ASSEMBLING THE APPLIQUÉ PIECES Step one Place the background front fabric piece right side (RS) up on top of the template. Draw

around the template with an erasable fabric pen.

Repeat for the background back fabric piece.

Step two Peel off the paper backings then press the shapes onto the background front, starting with the rainbow outers, followed by the rainbow middle ring, and then finally the clouds on top. 01 Step three Topstitch around each of the rainbow/ cloud elements. 02 Step four Repeat for the background back piece.

Step five Pin the cushion front and back together, making sure the outer edges line up. Sew together 2cm (¾in) outside of the drawn outline, leaving a turning gap along one cloud bottom edge.

FINISHING OFF Step one Cut any excess fabric and clip into the curves and corners. 03 Step two Turn the cushion RS, stuff firmly and close the turning gap with ladder stitch. 04

TIP: h appliquéd

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Cloud Bunting YOU WILL NEED Q Fabrics: 28x15cm (11x6in), for each cloud Q Wadding: 13x15cm (5x6in), for each cloud Q Cotton tape: 1cm (3⁄8in) wide x 2m (2yds), for hanging Q Erasable fabric pen Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Counting Sheep collection by Makower for stockists visit www.makoweruk.com NOTES Q The template does not include a seam allowance as the outer edge of the template is the stitching line.

Q Download the templates from www. simplysewingmag.com/downloads

CUTTING OUT Step one Download, print and cut out the template for the cloud.

Step two From each of the six fabrics, cut two rectangles 13x15cm (5x6in).

MAKING UP THE CLOUDS Step one Trace the template onto the wrong side (WS) of one of the cloud fabric pieces and mark a turning gap of approx 5cm (2in) at any point.

Step two Lay the wadding down and place the corresponding unmarked fabric piece right sides (RS) up on top. Lay the fabric piece with the marked template RS down on top to create a fabric sandwich. Pin in place. 01 Step three Sew all the way around the cloud along the marked template line, sewing from turning gap to turning gap and backstitching at the start and end of your stitching. Trim off any excess fabric and wadding. 02 Step four Turn RS out through the turning gap.

Turn the turning gap edges inside and press.

Step five Topstitch all the way around the cloud to close the turning gap. 03 Step six Repeat these steps to make up each of the bunting clouds.

MAKING UP THE BUNTING STRING Step one Spread your clouds evenly across your

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bunting – ours are spaced 6cm (23⁄8in) apart from the widest point of the clouds.

Step two Sew the clouds onto your bunting string, either by hand or by machine. If by machine, sew them on along the already sewn topstitching. 04 Step three If your chosen bunting string is made from a material that will fray or unravel you can turn the ends over by 1cm (3⁄8in) and then again by 1cm (3⁄8in) to finish the raw edges if necessary.

These clouds would make a sweet mobile, too! Just use dowel or an embroidery hoop to create a frame.

Soak is modern laundry care.

You can see it already. The quilt waiting to be born through a labour l b off llove. Wh When th the llastt stitch tit h iis titied, d you’ll ’ll wantt it to last forever. Soak is a modern way to clean and refresh the laundry you love most. Developed to be as easy on the environment as it is on your clothes, it’s the quick rinse clean you trust and love.

Available on

Flatter makes ironing easier.

Flatter is a starch-free smoothing spray that awakens your inner laundress and takes your clothes on a fresh, clean ride to a wrinkle-free universe. Made with plant-derived and renewable ingredients, it has no sulfates, no silicones, and definitely no wrinkles. Plus, the mild formulation is easy on sensitive skin, and won’t harm the environment.

handmade getaway is a project-based book that guides the reader through planning and creating a perfect sewing adventure filled with fabric, friends & food.

Visit handmadegetaway.com to find a local retailer.

Also available on

PSST: fabric and

for f a e l r be e Turn ov spiration, and in ished n fi styling r u o re y a h s o t g g ed a t sure s s e r D Matilda wingmag se #simply

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CovEr

WHILE STOCKS LAST

the matilda DRESS Get autumn-ready with The Matilda Dress, a newseason essential in UK sizes 6-20, with a high collar neckline, waist tie, and two length and sleeve options.

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TH MATI DA DRESS Some garments are destined for big occasions, others for everyday wear, but we don't believe the latter has to be boring! Featuring a high collar neckline and a waist-cinching tie with two sleeve and length options, The Matilda Dress is a crush-worthy, any-occasion kind of frock that will take you effortlessly from day to night, and season to season. It's designed for drapey fabrics, so don't pack away your stash of floaty prints just yet! This swishy style's blousey sleeves, relaxed fit and gathered waist make it perfect for rayons, crepes and cottons – and for elegant layering on cooler autumn days.

COLLAR DETAIL Finished with a statement high collar neckline.

YOU WILL NEED Q Main fabric: 115cm (45in) wide x 3.6m (4yds), for all sizes Q Iron-on interfacing: 30x115cm (12x45in) Q Zip: 20cm (8in) Q Button: 10-12mm (3⁄8in-½in) Q Narrow elastic: to fit each wrist (see instructions for details) Q Ribbon or elastic: 3mm (1⁄8in) wide x 5cm (2in) Q Matching thread

TIE WAIST Features a gathered tie waist for a flattering silhouette.

Q Basic sewing kit

FABRIC SUGGESTIONS Lightweight cotton, cotton lawn, rayon, crepe or linen.

GETTING STARTED First, pre-wash and dry your chosen fabric to allow for any shrinkage. Unfold the pattern and find the line style for your size using the key provided. Follow these lines to cut your pattern pieces out – it can be helpful to mark the lines using a highlighter. Read all of the instructions before you start to ensure you do each step in the correct order, get your sewing kit ready so you have everything you need to hand, press your fabric for accurate cutting out – and you’re ready to get started on your Matilda Dress!

Two chi and dre c sleeve ss len chose f gths o rom.

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TWO LENGTHS Make with a knee or midlength skirt.

wear it with

A muted yellow base gives this ditsy print an autumnal feel, www.artgalleryfabrics.com

Khokhloma Gloom, www.artgalleryfabrics.com

GoldeN houR Mustard, metallics and musthave denim for a chic autumn.

Ad a lng gold necklace fr elegant drape and subtle shine, £22 from www.oliverbnas.com

Scallop Crepe Navy, www. fabricgodmother.co.uk

Shore Remains Splendid, www.artgalleryfabrics.com

FABRIC INSPIRATION

Finish the look with sculptural earrings for a contemporary vibe, £16, www. oliverbonas.com

moDERN MATILDA Give your stash a modern makeover with contemporary blooms, geometric pattern repeats and abstract prints.

Everyone needs a classic denim jacket! This one has embroidered florals on the back for an on-trend touch, £45, www.simplybe.co.uk

Nod to the 1970s with a smart crossbody satchel in golden yellow, £30, uk.accessorize.com

Sculptor Rayon, www.cloud9fabrics.com

Whirl Rouge, www.artgalleryfabrics.com

Stride into autumn in comfy flat ankle bots, £39 from www.mandco.com Coder Rayon, www.cloud9fabrics.com

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We're big fans of this dreamy fan-motif viscose from www.fabricgodmother.co.uk

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FRESH IDEAS WITH FABRIC

workshop RIBBON FLOWERS Boost your skills with a different sewing technique in every issue.

FRESH IDEAS WITH FABRIC

workshop RIBBON FLOWERS LEARN THE TECHNIQUE With so many gorgeous ribbons and trimmings in delicious colours and finishes, we really are spoilt for choice when it comes to stitching with ribbon! This means narrowing it down can be tricky – and, if you’re anything like us, you can end up spending a fortune on metres of ribbon, which you really didn’t need! Having a clear idea of the ribbon type, width and colour is a good starting point, as well as considering the type of fabric you’ll be stitching it onto, too.

TYPES OF RIBBONS Grosgrain: This ribbon has a firm feel and is woven with a defined ridged texture, it commonly has a matt finish.

Satin: a shiny and smooth ribbon. It’s available in a wide range of colours and widths Picot edge: a decoratively edged ribbon, created with a series of small loops running either side of the ribbon length.

Printed: Ribbon with printed words, phrases and patterns, printed across the ribbon surface in a variety of colours, finishes and widths.

Organdy: a delicate, transparent, lightweight ribbon with an iridescent finish. It is often constructed of silk, cotton or rayon.

TIPS FOR RIBBON WORK Choose the right needle – a chenille needle with a large eye is perfect. The ribbon will naturally crease and fold in the needle, therefore it will be necessary to unfold the ribbon in the needle every so often. Smooth each ribbon length as you stitch – a cool iron will help, or smoothing between your fingers works too. This will help to reduce the amount of twisting and creasing.

Unpicking ribbon work petals is very difficult, as the ribbon may be split and damaged, so make sure you’re happy with the positioning before completing each stitch. If you struggle to pull the needle through the fabric – especially when finishing off the last few French knots – use a small pair of pliers as these will make gripping the needle a lot simpler. To finish the ribbon on the back of your fabric, simply weave it through the ribbon at the base of the petals where it is firmer and less likely to work loose.

HOW TO STITCH RIBBON PETALS Step one With the ribbon knotted at one end and threaded flat against the eye of the needle, pass the needle through the fabric at the flower centre. Create a ribbon loop on the fabric's surface and keep hold of it with one hand. Take the needle down through the fabric, next to your starting point. 01 Step two Pull the ribbon through the fabric,

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01

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keeping hold of the ribbon loop on the fabric’s surface. Bring the needle up inside the loop about 2cm (¾in) from the starting point. Keep the curve of the loop smooth and flat. 02 Step three To secure the loop, make a small straight holding stitch at the top of the loop.

Take this stitch over the loop and pass the needle through the fabric to secure. Try to keep the top of the loop curved, and untwist the ribbon if necessary. 03 Step four Work a series of petals in the same way, keeping the petals close to each other. 04

Try mixing hand embroidery and ribbon work to create your own floral designs.

FRESH IDEAS WITH FABRIC

workshop RIBBON FLOWERS

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YOU WILL NEED Q Cotton skirt in your size Q Ribbon: 4mm x 15m (6½yds) Q Small embroidery hoop Q Size 26 chenille needle, or 7 or 9 embroidery/crewel needle Q Green stranded cotton for the stem and leaves NOTES Q For embroidery and chenille needles, the smaller the number the larger the needle.

Q Check the ribbon sits flat within the eye and that it can move freely.

MATERIALS USED We used 4mm silk ribbon in Mandarin and Sunshine, available to buy from www.craftyribbons.com

STARTING OFF Step one With the chenille needle threaded with a length of ribbon and the opposite end of the ribbon knotted, bring the needle up at the starting point at the flower centre. Place the ribbon flat against the fabric and, using the needle, split the ribbon about 2-3cm from the ribbon start, by passing it through the ribbon and fabric to the reverse. 01 Step two As the needle is taken through to the reverse of the fabric a ribbon loop will be created on the front. It will be looping back on itself, and as you pull the ribbon through completely, a small, neat fold will be formed at the ribbon tip. 02 Step three Work the next petal in the same way.

Remember to leave space in the flower centre of 0.5-1cm (¼-3⁄8in) for the French knots. Try to keep each petal length and the spacing between each petal the same. 03 ADDING THE FRENCH KNOTS Step one When all petals have been worked, add French knots to the centre. Thread the needle with a length of the yellow ribbon and knot the opposite end. Bring the needle up in the centre

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of the flower and then wrap the ribbon once around the needle, keeping the ribbon taut against the needle. 04 Step two Take the tip of the needle partially back through the fabric close to the starting point. Slide the wrapped ribbon down the needle to sit on the fabric’s surface. Keep the wrapped thread taut against the needle, as this helps to control the ribbon and prevent it from unwrapping. Take the needle through the fabric completely, pulling the ribbon through to finish the French knot. 05 Step three Fill the flower centre with French knots. If you are struggling to pull the needle through the fabric, using a small pair of pliers will help.

FINISHING OFF Step one To finish the flowers, use two strands of green stranded cotton to create the backstitch stem and leaf details.

Step two Vary the direction of the stems to add to the look of movement to the flowers. 06

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UpcYcle QUICK PROJECT

on the mend Make a feature out of worn knees and dropped hems with Karen Lewisâ&#x20AC;&#x2122; visible mending techniques.

TRANSFORM IT! YOU WILL NEED

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To mend the holes Q Cotton fabric, see instructions for details Q Strong card Q Embroidery thread To mend the hem Q Cotton fabric, see instructions for details Q Matching thread Q Basic sewing kit NOTE Q Download the template at www. simplysewingmag.com/downloads

CUTTING OUT FOR THE KNEE PATCH Step one From the cotton fabric cut: A rectangle of fabric, cut on the bias to allow stretch and ease of movement. This needs to be the width of your jeans leg, from seam to seam, and at least 5cm (2in) larger than the height of the hole you are patching up.

Step two From the strong card cut: Cut the card the width of the jeans leg and at least 10cm (4in) larger than the height of the hole.

FOR THE HEM Step one From the cotton fabric cut: One piece measuring 7.5cm (3in) x circumference of the leg hem, plus 4cm (15⁄8in).

SEWING THE KNEE PATCH Step one Position the card inside the jeans leg, behind the hole. This helps to separate the front and back of the leg, making it easier to pin the patch in place.

Step two Feed the patch through the hole and smooth it out underneath. Pin in place around the hole and the edges of the patch itself. 01 Step three With a fabric pencil, draw lines approx 0.5cm (¼in) apart across the area you are sewing, from side seam to side seam of the jeans.

Step four Starting in the centre of the patch, sew a row of running stitches from one side to the other.

Step five Sew each new row on the opposite side of the previous row, smoothing out the fabric patch as you go. Finish off each thread with a knot on the inside of the jeans. 02 Step six Continue until you have sewn across the whole hole, then keep sewing rows above and below to secure the patch in place.

Step seven You can highlight the hole by sewing a couple of rows around the edge of it, following its shape. This has the added benefit of further securing the patch.

DARNING THE HOLE Step one With the card inside the leg for stabilising, stitch horizontal lines close together across the rip, starting 1.5cm (½in) away from the

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rip and moving from top to bottom. Secure the thread with a knot inside the leg at the end. 03 Step two For the vertical lines, keep the embroidery thread the same colour for a solid look, or change it to add interest. Starting from the left or right edge, weave the thread in and out of the horizontal lines. When you have completed the first vertical row, sew a small stitch approx 5mm (¼in) away to secure the darning, then gently push each new row close to the previous one to create a dense weave. 04 Step three Keep going until you have darned across the whole area, remembering to make a small stitch 5mm (¼in) away at the end of every vertical row.

BINDING THE HEM Step one Press the binding fabric strip, wrong sides (WS) together, in half lengthways.

Step two Leaving an excess of approx 5cm (2in) at the start and end, pin one of the long raw edges of the binding to the hem with the RS together, aligning the edges, and sew using a 1.5cm (5⁄8in) seam allowance.

Step three Pin and sew the two unsewn ends of the binding together. Press the seam open and trim, then sew this unsewn section to the jeans hem, overlapping your previous stitching.

Step four Press the binding over to the WS of the jeans. Press the raw edge of the binding under by 1.5cm (5⁄8in) and topstitch or slip stitch this folded edge into place all the way around to finish.

ADDING THE SASHIKO Step one We have stitched sashiko shapes around the darn for decoration. To do this, download the template and transfer the design onto the right side (RS) using an erasable fabric marker. The template is rotated at a 90-degree angle to achieve the finished sashiko shape.

Step two Starting with the top horizontal line, stitch horizontally across this through the fabric and then continue onto the next row.

Step three When you have finished all of the horizontal stitches, tie the thread at the back.

Step four Working from one side to the other, stitch the vertical lines to complete the sashiko pattern. The pattern will be revealed as you go.

This jeans patching and mending project is one of 20 simple home makes in Wabi-Sabi Sewing by Karen Lewis, published by Sew and So, £15.99. See more at www.sewandso.co.uk

no PatTern NeeDeD!

cut loose Measure, cut and stitch! Portia Lawrieâ&#x20AC;&#x2122;s drapey kimono jacket is made from simple rectangles for a speedy, stylish, satisfying sew.

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YOU WILL NEED

CUTTING THE FRONT BAND

Q 2.5m (2¾yds) of medium-weight fabric Q Measuring tape Q Erasable fabric marker Q Matching thread Q Basic sewing kit

Step one Fold the fabric in half, raw edge to raw edge and with selvedges aligned down the sides.

From the folded top edge cut a strip 12cm (4¾in) wide from the entire length of the fabric. Note that the length of this strip will dictate the maximum length of your kimono as this is the piece that will wrap around your neck and extend along the opening to the hem. 01 Step two If you are using a directional print, note that cutting it in one piece will result in the print running in the right direction on one side, but upside down on the other. To correct the direction of the print, cut the band in half. Flip one side in the opposite direction and sew the band back together, creating a centre-back seam. 02

FABRIC USED Printed textured cotton fabric by Seasalt Cornwall. Available to buy from www.seasaltcornwall.co.uk NOTE Q The seam allowance is 1cm (3⁄8in) unless otherwise stated.

CUTTING THE FRONT AND BACK Step one Cut out two rectangles. The width is half your bust measurement + 15cm (6in) design ease + 2cm (¾in) seam allowance. The length is the measurement from the neck/shoulder point to the knee plus 3cm (1¼in) hem allowance. Lay one on top of the other, right sides (RS) together. 03 Step two On the top rectangle cut away a strip 8cm (31⁄8in) wide straight down the centre.

Step three Measure 5cm (2in) down the outer edges from the top left and top right corners.

Then join that point to the outer edge of the opening to get the cutting line. Cut away these shoulder ‘slants’ through both layers. 04

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Step four Sew or overlock along the shoulder lines with a 0.5cm (¼in) seam allowance then press.

Finish the seam allowance with a zigzag or overlock stitch if using a standard machine.

CUTTING THE SLEEVES Step one Cut two rectangles for the sleeves of 60x45cm (235⁄8x18in). Mark the centre point on the 60cm (235⁄8in) long edge. With RS together, align this centre point on top of the shoulder seam.

Step two Sew or overlock the sleeves to the main body of the kimono with a 0.5cm (¼in) seam allowance, then press. Finish the seam allowance with a zigzag stitch or overlocker. Press sleeves away from main body as pictured. 05 Step three With RS together, sew the sleeve and side seams in one go with a 1cm (3⁄8in) seam allowance, pivoting at the underarm point. Press and then finish the seam allowance with a zigzag stitch or overlocker. 06

ATTACHING THE NECK BAND Step one Mark where the nape of your neck is using an erasable fabric marker and draw a line to gradually blend this with the open edge of your kimono, then cut along your marked line. To do this evenly, align and pin the raw edges of the neckline and opening and align the shoulder seams. Cut in one smooth pass along your line. 07 Step two Finish the raw edge of the bottom edge of the kimono and then press 0.5cm (¼in) to the

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wrong side (WS). Sew along the edge to secure. 08 Step three Cut the kimono band so that it is 7cm (2¾in) shorter than the entire length of the kimono front opening from one side to the other.

Sew the short ends of the kimono band with a 1cm (3⁄8in) seam allowance. Trim the seam allowance and clip the corners, then turn RS out and press. Pin the kimono band to the opening with RS facing and raw edges aligned. The end of the band should sit 2.5cm (1in) above the folded edge of the hem on both sides. 09

FINISHING THE KIMONO Step one Turn the hem to the WS, encasing the end of the kimono band as pictured. Then sew all around the kimono opening. Finish the seam allowance with a zigzag or overlocker, then press the stitching line all the way around. 10 Step two Flip the end of the kimono band through to the outside and it will automatically turn the hem back under to the WS. Press the seam allowance of the kimono band towards the body of the garment. 11 Step three Press and pin a 2.5cm (1in) hem all the way around the bottom edge.

Step four Sew the hemline and topstitch the seam allowance of the kimono band in a continuous line of stitching. Sew the hem, then when you reach the end pivot the fabric and sew around the kimono opening until you meet the beginning of the hem stitching line again. 12

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Make the neckline band in contrast fabric, add sleeve cuffs, alter the length, add pockets – this simple style is just the starting point!

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BUILT TO LAST

Patrick Grantâ&#x20AC;&#x2122;s co-operative, Community Clothing, has a simple mission: to create exceptional quality clothes, produced in the UKâ&#x20AC;&#x2122;s best factories, which are afordable to all. Two years on, he shares his vision for a more sustainable fashion future.

Written by Sarah Gane.

a good read and firing or, worse still, to factory closures.”

Utilising these factories’ down time in the production cycles means that workers are kept on during what would normally be the quiet periods of the year to produce quality garments at reasonable price points. “Our returns rate is astonishingly low and we get an enormous amount of great feedback from our customers,” he explains. “Most people are amazed that clothes of such quality are on sale at such affordable prices.”

JUST THE BEGINNING What began with Patrick saving a well-loved, Blackburn-based factory from closure, soon led to the launch of the Community Clothing brand.

Supported by a Kickstarter campaign and with a goal of £75k’s worth of pre-orders, this initiative soon gained over £88,000 of support in little over a month – proof there was a large base of people that cared how their clothes were made and were eager to make a difference.

Since then, Grant’s plan of restoring pride and jobs back to the British fashion industry has created over 12,800 hours of skilled UK manufacturing work, making a difference to people’s livelihoods and local communities.

“That’s just a start,” he says reassuringly. “The ambitious target is to create at least 5,000 full-time jobs. And I think we’ll do it.” He continues: “I’m thrilled with our progress to date… I couldn’t imagine it going any better.

We’re making and selling lots of clothes,

we’re creating thousands of hours of skilled work, and the factories and our customers are universally proud of what we’re doing.”

BUY LESS, CHOOSE WELL The selection of clothing styles available is intentionally limited to well-designed, core wardrobe staples for men and women.

Classic items in the women’s range include a Breton top, linen shirt dress, denim smock, jeans and T-shirts. “Volume-wise, our socks are by far our biggest seller – new colours, and stripes, coming soon! Other big sellers are our classic T-shirts – more of those soon too! – Bretons, the women’s workwear pants, and also the men’s raincoat,” he tells us.

By creating classic, non-seasonal designs that are produced during these down times, essentially ‘filling the gaps’, there’s a steadier stream of production for the factories, resulting in continual work for its employees.

As yet, it’s not something that other clothing companies currently do. “It’s very difficult to do if you’re working on the standard model of seasonal collections. We need to get back to more stable, core products, then more retailers could do the same thing.”

The organisation also saves money by having no advertising, limited retail space, no free stuff for celebrities, and no sales at the end of the season. “We want to create a cycle of positive value for works and for customers – making clothes we can all feel proud of,” explains Patrick. “This means we don’t go on

"I’M THRILLED WITH OUR PROGRESS TO DATE.. WE’RE MAKING AND SELLING LOTS OF CLOTHES, WE’RE CREATING THOUSANDS OF HOURS OF SKILLED WORK."

E

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The Community Clothing collection features classic, well-made styles, from raincoats to jumpers.

Photos: www.communityclothing.co.uk

steemed designer and Great British Sewing Bee judge Patrick Grant is known for his impeccable style and attention to detail. He’s also a grafter.

This is a man often seen putting in 70 hours or more each week into what he loves, including working as the creative director of Savile Row tailor Norton & Sons and ready-to-wear brand E. Tautz & Sons.

Passionate about sustainable business practices and British textiles, Patrick has also found the time to embark on another fashion venture: an affordable clothing brand that reflects his values and aims to make positive changes to the industry. Launched in 2016, Community Clothing is a manufacturers’ co-operative that makes excellent-quality garments at affordable prices. Everything is produced by skilled workers in factories across the UK, and the prices are genuinely affordable too, starting at just £2.50 for a pair of socks and £22 for a T-shirt.

He’s managed to achieve this by taking a different approach to garment production than the fast-fashion model. According to Patrick, one of the biggest problems that the British clothing manufacturing industry faces is the seasonality of the demand. “For several months of every year, even the very best British factories are nowhere near full,” he explains. “This can lead to seasonal hiring

WWW.SIMPLYSEWINGMAG.COM 47

a good read Below: As its name suggests, the people who make its clothes are at the heart of the Community Clothing brand. “The idea is to use surplus funds to support initiatives creating pathways to skilled employment, and inspire people to consider careers in clothing,” says founder Patrick.

sale or slash our prices at the end of every season, we don’t need to entice you with an artificial bargain and we don’t have any dead stock to shift.” Shoppers can purchase items online or through the brand's eBay store. “We have a wonderful little store in Blackburn, but it’s an anomaly. We work closely with Blackburn Council, who won the building, and a wonderful back-to-work agency called Bootstrap (www.bootstrap.org.uk), so the costs of running it are tiny. Normal retail doesn’t fit with our model.”

Nevertheless, despite the ‘wardrobe staples’ approach, innovation is still an important part of the organisation’s strategy.

“We’re working not only on refining a few of the products we already offer, but adding new styles. The idea is to cover all of the basic items in both men’s and women’s wardrobes.

12 months from now there will be another 30-40 styles in the collection.”

Growing Community Clothing's range at this slow and sustainable rate means the focus is on wearable, classic items that its wearers will treasure for a long time – and it won’t stop at adults’ clothes, either. “Yes, we’d like, once we’ve got all of that worked out, to have a look at doing childrenswear,

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too. We think the same dearth of quality at affordable price points exists there as well.”

CHANGING FASHION FOR GOOD Community Clothing’s transparency when it comes to production clearly demonstrates that every person and business involved in the chain is respected. Every factory in this manufacturer’s co-operative receives a fair

"THE IDEA IS TO COVER THE BASIC ITEMS IN BOTH MEN’S AND WOMEN’S WARDROBES. 12 MONTHS FROM NOW THERE WILL BE ANOTHER 30-40 STYLES IN THE COLLECTION." price for its goods and every worker is paid at least the National Living Wage. Sadly, this isn’t the norm in an industry where fashion fads and low price-points prevail. According to a white paper by organisation Fashion Revolution (www.fashionrevolution.org) published in 2015, just 4 of 40 leading international clothing brands were able to demonstrate the work they were doing

towards paying a living wage. With more people than ever before wanting to know #WhoMadeMyClothes, Fashion Revolution's viral hashtag, it’s refreshing that Community Clothing is choosing to do things differently.

But this worthy initiative goes beyond the production methods to roll out real changes in the areas surrounding the factories, too – 75% of the company’s profits are put back into projects within the communities.

“The idea is to use surplus funds to help support initiatives creating pathways to skilled employment,” Patrick tells us, “because we have a great shortage of the skills required for garment manufacture in the UK.” Working partnerships have been formed with Blackburn and Burnley Colleges, as well as Dumfries House Future Textiles programme. “We’re also working in schools, universities and anywhere else we can, including TED talks, to inspire young people to consider careers in clothing and textiles.”

This focus on supporting the workers behind the clothing is evident on Community Clothing's website, which doesn't hide, omit or gloss over its manufacturing processes; instead, it showcases photographs of, and interviews with, its skilled makers.

"We want our customers to understand the importance of these places and this work to the communities in which they sit," explains Patrick. "So, as we add more factories, we will continue to try to make this connection, either through photography, or in film.”

MADE TO LAST As consumers, we increasingly want to know where our food comes from, so there’s no reason why the same shouldn’t be applied to our clothes. Indeed, there’s something heartwarming about knowing your jeans, T-shirt or even socks have helped to restore a person’s pride, sustaining them, a whole family, or even contributing to a local community.

What’s more, there's another aspect to it that we as makers know ourselves: loved clothes last. We’re far more likely to repair something that we treasure and enjoy wearing rather than fast-fashion, trend-led items. This means fewer clothes going to landfill, helping the environment in the process.

Patrick is optimistic, yet realistic, about the ways that clothing production in the UK has already changed, and could change in the future. “I am enormously bullish about the future of British manufacturing. It won’t look

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like it did in the past. We’re not going to go back to the millions of jobs we had, because it will embrace the newest automation and technology, but because of this it will be economically viable, and sustainable in the long term, creating local prosperity and reducing the damage that the current manufacturing systems do to the planet.”

Whether we like to admit it or not, fast fashion has changed the way we dress and shop – it’s almost become an addiction for many people. But there is hope: weaning ourselves off shopping in this way and changing our habits now will help to develop a sustainable fashion market that is built on quality, craftsmanship and fair prices for each and every person in the production process.

And the great thing is that we can all play a part in helping to make this new fashion framework a reality – and making conscious clothing purchases is just the start. “We desperately need to stop thinking of buying clothes as a pastime. It’s causing so much damage. We need to find new ways to make ourselves feel great. Like sewing. We need to get back in our craft dens and sheds and workshops.” We couldn’t agree more.

Visit www.communityclothing.co.uk

WORTH A WATCH Patrick Grant’s TED talk, titled ‘Why we should all feel uncomfortable in our clothes’ is a frank and informative look at the fashion industry today. In it, he reveals that the UK spent £56 billion on clothing in the last year, but only 2% of it was made in the UK. He also discusses the ways in which we, as consumers, can use our buying habits to make positive changes. Watch the talk at www.youtube.com/tedxtalks

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Photos: www.communityclothing.co.uk

a good read

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TH BOW ING BAG 01

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YOU WILL NEED

CUTTING OUT

Q Outer fabric: 115x125cm (45x49in) Q Lining fabric: 115x100cm (45x40in) Q Iron-on woven interfacing: 100x90cm (40x35in) Q Iron-on fleece: 100x115cm (40x45in) Q Firm fusible interfacing: 50x99cm (19¾x1yd) Q Zip: 61cm (24in), for the bag closure Q Zip: 30cm (12in), for the pocket Q 2 D-rings: 38mm (1½in) Q 2 trigger hooks: 38mm (1½in) Q Rectangle slider: 25mm (1in) Q Webbing: 38mm (1½in) x 3m (3.5yds) Q Piping: 5mm (¼in) wide x 3.6m (4yds) Q Sewing clips Q Piping or zip machine foot Q Matching thread Q Basic sewing kit

Step one Print and cut out the templates.

Step two From the main fabric cut: Outer pocket: cut two using the template.

Front/back body: cut two using the template.

Top panel: 68x15cm (26x57⁄8in).

Base: 70x15cm (27¾x57⁄8in).

Pocket trim piping: cut two strips measuring 36x3.5cm (141⁄8x13⁄8in).

Bag front and back piping: cut enough 3.5cm (13⁄8in) wide bias strips to create a 145cm (57in) long strip.

Step three From the lining fabric cut: Outer pocket: cut two using the template.

Front/back body: cut two using the template.

Top panel: 68x15cm (26x57⁄8in).

Inner pocket: cut two 28x24cm (11x97⁄16in).

Base: 70x15cm (275⁄8x57⁄8in).

Step four From the iron-on woven interfacing cut as follows: Outer pocket interfacing: cut two.

Top panel: 65x12cm (255⁄8x4¾in) Step five From the iron-on fleece cut: Outer pocket interfacing: cut two using the template Front/back body interfacing: cut two using the template.

Top panel: 65x12cm (255⁄8x4¾in).

Base: 67x12cm (263⁄8x4¾in).

Step six From the firm fusible interfacing cut: Front/back body interfacing: cut two using

FINISHED SIZE Q 43cm (W) x 33cm (H) x 15cm (D) (17x13x6in).

NOTES Q The seam allowance is 1cm (3⁄8in) unless otherwise stated.

Q All interfacing and hardware used is from www.u-handbag.com

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the template.

Base: 67x12cm (263⁄8x4¾in).

INTERFACING THE PIECES Step one Following manufacturer's instructions, centrally press the medium-weight interfacing onto the wrong side (WS) of the main fabric outer pocket pieces and top panel.

Step two Centrally press the iron-on fleece onto the WS of the outer pocket lining, front/back body lining, base lining and top panel lining pieces.

Step three Press the iron-on firm interfacing centrally onto the WS of the main fabric front/ back body and base outer pieces.

MAKING THE HANDLES Step one Cut two 56cm (221⁄8in) pieces of webbing for the handles.

Step two Fold one of the handles in half by bringing the long edges together and stitch a 13x1cm (5¼x3⁄8in) box in the handle centre.

Stitch over the box twice for strength. This stitching reinforces the handles and makes them more comfortable to use.

Step three Repeat for the other bag handle.

MAKING THE STRAP Step one Cut two 7.5cm (3in) lengths of webbing for the shoulder strap tabs. Thread a D-ring onto one of the webbing pieces, fold

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the webbing in half over the ring and stitch the ends together 5mm (¼in) from the edge to secure. Repeat with the other D-ring and webbing piece.

Step two Cut a 150cm (59in) length of webbing for the adjustable shoulder strap. Thread one end of the strap under the first bar of the slider, over the central bar and back under the last bar, so that 7cm (2¾in) of the webbing extends from the slider.

Step three To hold the slider in place, first fold the end of the webbing you just threaded through the slider over to the WS by 2cm (¾in).

Secure this folded edge to the webbing strap on the other side of the slider to create a loop around the centre bar with two lines of stitching 1cm (3⁄8in) apart, stitching over the lines a few times for added strength.

Step four Thread one of the trigger hooks onto the other unsewn end of the strap, and then thread this end of the strap through the slider, then finally thread it through the other trigger hook and stitch this into place as for the slider, ensuring the strap is not twisted as you go. 01

MAKING THE PIPING TRIM Step one Join the bias strips to make a strip 145cm (57in) long. 02 Step two Cut two 31cm (12¼in) lengths of piping cord. Find and mark the center of both pieces. Take one of the pocket trim bias strips

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and fold in half by bringing the long edges WS together. Press the fold and open out. Fold in half again by bringing the short edges WS together and marking the center of the long edge onto the WS. Step three Matching the centre points, lay the cord along the centre of the WS of the bias strip.

To reduce bulk at the piping ends, the cord is slightly shorter than the bias strip. 03 Step four Fold the bias strip in half over the cord and stitch the long edges together 0.5cm (¼in) from the edge.

Step five Cut two 146cm (57½in) pieces of cord for the bag front and back trim and use the remaining bias strips to make the piping for the bag front and back.

MAKING THE OUTER POCKETS Step one Mark the centre point of one of the pocket trim piping pieces. Repeat with the curved top edge of one of the interfaced pocket outer pieces.

Step two Match the centre points of both pieces then use sewing clips to attach the piping to the curved edge of the right side (RS) of one of the outer pocket pieces. You may notice the piping trim is slightly too long for the curved edge – this is deliberate to allow for ease. 04 Step three Using a zip or piping foot, stitch the piping in place 5mm (¼in) from the edge and trim off any excess.

Step four Pin or clip the pocket lining and outer pieces RS together, matching the curved edges.

Step five With the lining side facing up, trace your fingers over the piping so you can see and feel the piping underneath. Using a zip or piping foot, stitch the pocket pieces together along the curve with a 1cm (3⁄8in) seam allowance. Stitch as close to the piping as possible without stitching onto the piping.

Step six Turn the pocket RS out and press the curved top edge underneath the piping.

Step seven Repeat to make the other pocket.

ATTACHING THE HANDLES Step one On both of the outer pockets, mark 2cm (¾in) in from both ends of the curved piped edge.

Step two Take one of the outer pockets and handles. Line up the ends of the handle with the pocket curved edge, with the outer side edges of the handle aligned with the 2cm (¾in) markings on the outer pocket from the previous step. Pin the handle ends in place just to hold.

Step three With the handle in position, turn the pocket over to the lining side. Using an erasable fabric marker, mark the handle outer and inner edges on the piping at both ends of the handle.

Unpin the handle and use a seam ripper to unpick the curved seam between the markings.

Slide the handle ends in between the pocket lining and outer through the holes you have just

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TH BOW ING BAG made and pin the handle into place.

Step four Ensure the lining raw edges are neatly tucked to the inside at both of the handle ends and then topstitch all the way along the RS of the pocket curved edge below the piping, 3mm (1⁄8in) from the curved edge. You may wish to use different bobbin thread to match the lining.

Step five Lift up the pocket outer layer. Using matching thread, stitch the handle ends to the lining fabric only, sewing twice for strength. 05 Step six Repeat for the other pocket and handle.

MAKING THE TOP PANEL Step one Draw a 24x1.5cm (9½x5⁄8in) rectangle in the centre of the WS of the top panel lining.

Draw a line along the centre of the rectangle, and then draw a small triangle at both ends of the rectangle, with the points of each triangle meeting this central drawn line.

Step two Place the top panel and top panel lining pieces RS together. Match all the raw edges and pin. 06 Step three Stitch around the rectangle.

Step four Cut along the central drawn line inside the rectangle and into the diagonal lines at the rectangle ends.

Step five To reduce bulk, trim the lining fabric, cutting close to the seam.

Step six ‘Post’ the lining fabric through the hole and press so that the edges are crisp.

Step seven At the end of the zip where the tape splits open, hand-stitch the tape ends together.

Step eight Apply double-sided tape to the long edges of the zip tape then remove the backings.

Step nine Take the top panel with the RS facing up and position the hole over the zip. 07 Step ten Ensure that the teeth of the zip are positioned centrally within the zip hole and press. Topstitch all the way around the zip hole, 3mm (1⁄8in) from the edge, to hold in place.

MAKING THE INNER POCKET Step one Take one of the inner pocket pieces.

On the WS, draw a 22x1.5cm (8¾x5⁄8in) rectangle in the centre in the same way as before, 4cm (15⁄8in) down from the top edge.

Step two Place this inner pocket piece onto one of the front/back body lining pieces with RS facing. Position the pocket piece centrally on the body lining, 6cm (23⁄8in) down from the top edge. Pin the pocket piece in place.

Step three Stitch the zip hole and attach the zip as for the top panel, but without stitching the zip tape ends together as before. Trim the excess zip ends so they do not extend past the pocket fabric. 08 Step four Pin the other inner pocket piece to the attached pocket piece with RS facing.

Step five Stitch together all the way around the inner pocket pieces only. Do not stitch through the bag lining.

MAKING THE BASE Step one Peel back one of the short edges of

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the main fabric top panel (with the zip) and pin or clip the lining top panel and base lining RS together along this short edge. 09 Step two Sew together, but without stitching though the outer layer, and then press the seam open. Repeat with the other side.

MAKING THE BAG LINING Step one Open the top panel zip. Place the bag lining piece with the lining pocket attached RS together with one side of the base. Match the centre points and align the edges of the pieces and pin together. 10 Step two Stitch together then press the seams open. Repeat with the other side and bag lining piece, this time leaving a 32cm (125⁄8in) turning gap in the bottom edge.

Step four Keep the lining out of the way and place one of the webbing shoulder strap tabs with a D-ring attached onto the RS centre of one of the outer top panel short edges. 12 Step five Sew the tab in place 5mm (¼in) from the edge. Don't stitch through the outer layer.

Repeat with the other handle tab and top panel.

Step six Make up the outer base the same way as the lining base. Avoid stitching through the lining. Topstitch the base top edge seam on the base RS. Step seven Move the lining bag out of the way then pin and stitch one of the outer bag pieces to the outer base in the same way as the lining pieces have been assembled except don't leave a gap in the bottom edge. Use a zip or piping foot to stitch as close as you can to the piping.

MAKING THE OUTER BAG

FINISHING THE BAG

Step one Take one of the bag outer pieces and pin a body piping piece all around the edge RS together. As you pin the piping to the top edge, fold the handbag handles down out of the way.

At the bottom edge, cross the piping ends over each other with the ends pointing downwards.

Step two Begin stitching the piping to the outer piece at the cross-over point. Lifting the uppermost piping end out of the way and keeping the lowermost piping end pointing downwards, begin stitching at the lowermost piping end. Stitch the piping all the way around until you reach the piping cross at the beginning of your stitching. Keep the uppermost piping end pointing downwards and stitch over the piping cross. 11 Step three Trim the excess piping at the cross.

Repeat with the other bag outer and piping.

Step one To prevent the lining from collapsing into the bag when opened, stitch the lining top edge seam to the outer bag top edge seam. To do this, bring the lining and outer top panel seams together and pin. Stitch the lining and outer seams together 5mm (¼in) from the edge.

Stitch from one base top edge seam to the other. Repeat on the other side.

Step two Turn the bag RS out though the turning gap in the lining. Using a pressing cloth, press any areas where the interfacing has come away during turning.

Step three Bring the lining gap seams together, pin and stitch 3mm (1⁄8in) from the edge.

Step four To finish, clip the shoulder strap trigger hooks onto the D-rings on each side of the bag and then adjust the length of the shoulder strap to suit, using the slider.

Sew a new weekend staple with the The Alexa Dress in UK sizes 6-20, a super-comfy jersey style with a feminine rule skirt detail.

WHILE ST

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T

WWW.SIMPLYSEWINGMAG.COM 55

TH A XA DR SS Whatever the season, whatever the weather, you're most likely to find us wearing jersey. It's safe to say that this versatile fabric fills most of our wardrobe (and our fabric stash!), and now we've got a new style to add to the collection with this issue's Alexa Dress. And we definitely won't be making just one version of this staple dress – with its irresistible ruffle skirt detail and so many options for layering with our fave tees and knits, we'll be stitching an Alexa in every hue! This is a great skills-booster for those new to sewing with stretch (and a speedy make for more confident stitchers), with instructions for stabilising the seams and adding neckline and armhole bands for a professional finish.

EASY WEAR Includes a scoop neckline for stylish layering.

YOU WILL NEED Q Main fabric: 115cm (45in) wide x 3.1m (3½yds), for all sizes Q Clear elastic or cotton tape: 0.5cm (¼in) wide x 7m (7.5yds) Q Jersey sewing machine needle Q Dental floss (for gathering, see instructions for details) Q Matching thread Q Basic sewing kit

COMFY FIT Has a loose, shiftinspired shape for easy fitting.

FABRIC SUGGESTIONS Medium-weight cotton jersey.

GETTING STARTED First, pre-wash and dry your chosen fabric to allow for any shrinkage. Unfold the pattern and find the line style for your size using the key provided. Follow these lines to cut your pattern pieces out – it can be helpful to mark the lines using a highlighter. Read all of the instructions before you start to ensure you do each step in the correct order, get your sewing kit ready so you have everything you need to hand, press your fabric for accurate cutting out – and you’re ready to get started on your Alexa Dress!

RUFFLE SKIRT Features a dropwaist skirt with a ruffle detail.

BonUs PatTern!

Download add-on pieces to make The Alexa Top at

www.simplysewingmag.com /downloads

wear it with

This soft viscose-mix blend will be a dream to sew with – and to wear! www.fabricgodmother.co.uk

Mod Diamonds, www.girlcharlee.co.uk

thaT 70S looK Try the 70s trend with beads, brogues and basket bags.

Ad statement earrings fr an effrtless partyready lok, £12 from uk.accesrize.com

Commute by Limo, www. artgalleryfabrics.com

This season's wrist candy is big and beaded, £10, uk.accessorize.com

Roma Jersey Rust, www. fabricgodmother.co.uk

Go understated with a single stone pendant, £26, www. oliverbonas.com

FABRIC INSPIRATION

a soft touch From drapey lightweight jersey to cosy ponte, we just can't resist super-soft stretch fabrics in new-season hues.

his floaty scarf had us at 'jumbo spots and a pom pom trim', £25, www. whitestuff.com

Wispy Daybreak Aura, www.artgalleryfabrics.com

Retro basket bags may not be practical for the commute, but they're oh-so-chic for date nights, £45 from www.very.co.uk

Specks of Carambola, www.artgalleryfabrics.com

Birdstencil AM, www.artgalleryfabrics.com

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An Alexa in this slinky jersey will work for all seasons – just layer with a long-sleeve tee in cooler weather, www.fabricgodmother.co.uk

Nail smart-casual style ith a pair of clasic brogues, £70 from www. dunelndn.com

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THIS MONTH IN

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2 SEWING LESSONS EXPLAINED STEP BY STEP

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Treat your feet to socks adorned with a dainty loral motif, stitched in Peking knots. Mollie Johanson shows you how.

PekIng Knot

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USE THE STITCH

YOU WILL NEED

WORKING A PEKING KNOT

Q 1 pair of socks Q Stranded cotton: coral, warm pink, yellow and dark green Q Scrap of cotton fabric: 2.5x7.5cm (1x3in) Q Iron-on double-sided fusible interfacing Q Basic sewing kit

Step one Come up from the back of the fabric. This will be the bottom of the stitch. Make a loop with the working thread with the loose end under the thread that’s attached to the fabric. 01 Step two Insert the needle just above the point where the thread exits the fabric, but don’t pull it through yet. Slowly pull the working thread until the loop is the size you want the stitch to be. 02 Step three Hold the loop in place with your finger as you pull the needle and working thread through. Be careful not to pull the thread too tight, especially when securing the end, otherwise the Peking knot will tighten on the surface. 03

NOTES Q If your socks fold over like ours, be sure to stitch the design in the correct direction for when the cuff is folded.

Q Depending on the stretch of your sock material, it may be best to stitch the flowers individually to prevent the threads breaking.

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EMBROIDERING A PAIR OF SOCKS Step one Cut a 2x6.5cm (¾x25⁄8in) rectangle of cotton fabric and press paper-backed fusible interfacing onto the back. Remove the paper backing and fuse it to the inside of the sock near the cuff. This will prevent the embroidered area from stretching and distorting the stitches. 04 Step two Working through the sock and the fused fabric, embroider a staggered row of Peking knots in varying sizes. Use six strands in coral, warm pink, and yellow embroidery thread. Use the pattern as a guide or stitch the Peking knot flowers freehand. 05 Step three To finish, embroider tiny stems and leaves under the flowers with straight stitch. Use three strands in dark green embroidery thread. 06

cosy corner Add colour and pattern to your favourite chair with Nancy Nicholson's guide to trimming a plain throw with embroidery.

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YOU WILL NEED Q Blanket Q Knitting or tapestry wool (yarn) in a choice of colours NOTES Q When choosing your blanket, look for throws that have a distinctive weave as this will naturally suggest many more design possibilities â&#x20AC;&#x201C; for example, a strong chevron weave or a tartan blanket will allow you to follow the existing lines.

Q If the weave of your chosen blanket is particularly fine, you may want to use finer crewel wool.

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Step one Use tacking stitches or a heat-erasable fabric pen to draw your chosen design onto the right side (RS) of the blanket.

Step two As most blankets are made up of a complex weave, there is space between the warp and weft to hide the back of your stitches as you work. However, not all stitches can be hidden. Surface stitches will ensure that the reverse is magically unstitched while all the embroidered decoration is on the front. Some examples of linear stitch designs to try on your blanket are: 01 Running stitch and laced running stitch.

02 Double laced running stitch and Eskimo stitch.

03 Star stitch and straight stitch.

04 Cross stitch.

05 Back stitch and whipped running stitch.

06 Couching stitch and thorn stitch.

Step three Embroider your design using the stitch and colours of your choosing. Bright, contrasting colours will create a modern look, while muted and complementary tones will give the blanket a luxurious feel. To create the design in the main image, a chevron motif has been hand-embroidered using a whipped running stitch.

Step four Once your embroidery is complete, unpick the tacking stitches, or use a damp cloth and a hot iron to iron out any of the pen mark design guidelines.

This embroidered throw is one of 20 projects in Big Embroidery by Nancy Nicholson, published by SewandSo, ÂŁ15.99. Visit www.sewandso.co.uk

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A GOOD R AD

A CULTURE TRIP We round up the very best fashion and textile museums in the UK, whether you’re after a look back in time, or something altogether more contemporary.

Written by Sarah Dawson.

ashion is as much about looking back as it is about moving forwards – indeed, we’ve all seen familiar trends (including the ones we’d much rather forget!) return to the high street, reinvented and reimagined for a new generation.

So, where better to look for sewing and style inspiration than one of the many fashion and costume museums in the UK? Their diverse displays are where fashion and history collide; where you might get the chance to admire 18th-Century ball gowns alongside 1960s mini dresses and on-trend designer pieces; where clothes from the past are given new meaning with personal stories from the people who wore them; and where ground-breaking exhibitions explore the innovations yet to come in the future. Here, we take a peek behind the scenes at three iconic museums – The V&A, Fashion Museum Bath, and The Bowes Museum – to discover what goes into curating their fashion exhibitions.

A dramatic Vivienne Westwood gown, inspired by 18thCentury dress, on display at the V&A.

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Photos: www.vam.ac.uk

The V&A's Balenciaga: Shaping Fashion show celebrated the iconic designer's influence on modern fashion.

The V&A, London The Victoria and Albert Museum, aka the V&A, stands proudly in South Kensington’s museum district and is home to over 5,000 years of art and design, featuring everything from ancient Japanese suits of armour to Art Deco teapots.

Boasting a truly outstanding, world-class collection of historical fashion spanning five centuries, the V&A is a dream come true for fashion lovers. It’s no exaggeration to say that there really is something for every taste and passion here, whether you’re interested in grand 18th-Century mantua court gowns, breathtaking eveningwear from the 1930s, iconic fashion pieces from the Swinging Sixties or modern designs from some of the country's most ground-breaking designers. You’ll also find jaw-dropping pieces from key fashion houses including Chanel, Dior and Balenciaga – which are all even more dazzling up close – plus a collection of wedding fashion through the ages, extraordinary examples of the most exquisite embroidery, and a comprehensive display of accessories and jewellery that is guaranteed to spark off some creative inspiration.

The V&A is known for its trailblazing fashion exhibitions, and one of its latest shows, titled Fashioned From Nature, on until 27th January 2019, is no exception. Presenting high-fashion clothing alongside natural history specimens, innovative fabrics and dyeing processes, it invites us to consider the materials of fashion and the sources, and the sustainability, of our clothes. Its curator, Edwina Ehrman, aims to “dispel the idea that sustainable fashion is boring and worthy. Here visitors can see striking and desirable fashions created by Stella McCartney in viscose made from wood pulp from sustainably managed, certified forests in Sweden, and G-Star RAW’s Cradle to Cradle gold standard certified denim.”

The exhibition takes us on a chronological style journey from 1600 to the present day, and includes the environmental impact of each piece. “In the historical periods I took my lead from the trends of the time, such as the vogue for printed cotton and fine muslin in the 18th Century, and for furs in the 19th,” explains Edwina, “but the fabrics are the focus of the object labels. They explain what the materials are, how they were produced and what effect, if any, their manufacture and use had on the environment.” It’s not all about historical dress, though – for the modern section of the display, Edwina chose garments and accessories "that show solutions to the environmental challenges that the fashion industry has created.

Together, the fashions represent a range of different approaches to sustainable design.

Colour and high fashion values also informed which pieces I selected.”

For Edwina, creating an exciting exhibition is not just about the individual pieces, but also how they all work together, both visually and historically. “Every object should carry the exhibition narrative, but they also should look great together or visitors will pay them scant attention! You also need a few stand-out or unexpected pieces, such as the 175cm-wide court dress trimmed with ermine fur from the 1770s, which is displayed alongside a taxidermy specimen of a stoat whose white winter coat is used for ermine.

Objects like this provoke conversations and entice our visitors to look a little closer.”

Where? Cromwell Road, South Kensington, London, SW7 2RL. How much? Admission is free, although some exhibitions and events carry a separate charge, including Fashioned From Nature.

See more: www.vam.ac.uk

“Every object should carry the exhibition narrative. You also need a few unexpected pieces.”

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A GOOD R AD ,

Fashion Museum Bath With its UNESCO World Heritage Site status and Georgian architecture, the beautiful city of Bath has plenty to offer for a relaxing minibreak or day out. As well as the world-famous Roman Baths and dramatic abbey, the city is home to one of the world’s leading fashion museums. The Fashion Museum Bath has a fascinating, extensive collection of historic and contemporary dress, all housed in the grand setting of the city’s Assembly Rooms – amongst Bath’s finest Georgian buildings.

The museum’s ongoing A History of Fashion in 100 Objects display showcases 100 star pieces from its 100,000-strong archive. Each eradefining outfit or accessory perfectly captures a moment in time and tells the story of how fashion has changed over the last 400 years. Including everything from beautiful Regency fashion (very Bath!) to futuristic styles from Gareth Pugh, as well as the best ten shoe ‘moments’ in history, the exhibition really is a must-see.

As with many fashion archives

(and, indeed, our own wardrobes!), keeping moths at bay is an ever-present concern, says the museum’s manager Rosemary Harden.

“Like a lot of other museums, we run an IPM (integrated pest management) programme, which involves monitoring both store and display spaces with insect traps. We check these regularly and if we find more than seven moth in a trap we know we have to look for a garment that is particularly attractive to moths – more often than not something incorporating feathers, or fur or wool. Once we have located a possible garment, we bag it in polythene and freeze it for several days, as this eradicates any insect activity. We then re-introduce it to the collection area and monitor to make sure the problem doesn’t come up again.”

Keeping the garments in a good condition for future generations to enjoy is a labour of love for the Fashion Museum team. “Fashion touches everyone’s lives, to a greater or lesser extent, and to be able to show and share real fashions from days gone by is a delight and a privilege,” Rosemary enthuses. “Visitors enjoy seeing dress from the past, whether that is a bright yellow 18th-Century silk dress (a style which might have been worn in Georgian Bath) or the latest ensemble straight off the catwalk from Paris, like our ‘We Should All be Feminists Now’ T-shirt. Both of these are vastly different looks, worn at very different times in

Photos: www.fashionmuseum.co.uk

“To be able to show and share real fashions from days gone by is a delight and a privilege."

history, but both say something about the time in which they were made, and at the same time about personal choice and style.”

Rosemary’s current pick from the museum's collection is “the beautiful silver metal thread embroidered purple silk evening dress, which was designed by Paris fashion house Doeuillet and chosen by Queen Alexandra as a part of her royal wardrobe in around about 1910. It’s on display in our current exhibition, Royal Women, and it just glitters and sparkles – pure queenly magnificence!” On until the end of April 2019, the display charts the fashion worn by female members of the British monarchy and the important statements these made.

Where? Assembly Rooms, Bennett Street, Bath, BA1 2QH. How much? Tickets cost £9 for adults, £8 for seniors and £7 for children aged 6-16.

See more: www.fashionmuseum.co.uk Museum manager Rosemary's current favourite piece is a lilac evening dress (left) from the Royal Women exhibition.

A GOOD R AD

Photo: www.thebowesmuseum.org.uk

The Bowes Museum's latest exhibition brings together cutting-edge garments and Chris Moore’s revolutionary catwalk photography.

The Bowes Museum, County Durham The Bowes Museum, in the historic Teesdale market town of Barnard Castle, was built in the 19th Century. This grand, French-style château houses an impressive collection belonging to John and Joséphine Bowes, which has been added to throughout the centuries. Alongside beautiful paintings, ceramics and furniture, you’ll find its huge dress and textile collection, now housed in a permanent gallery. Using cutting-edge display methods, you can get a 360-degree view of the garments on show as you walk through a dazzling timeline of fashion. With women’s, men’s and children’s clothing from the late 18th Century right up until the 1960s, expect a comprehensive trip through time as you take in the various displays. Highlights include heavenly 20thCentury haute couture designs by Madeleine Vionnet, wedding dresses, and an outfit that once belonged to Empress Eugénie, one of the 19th Century’s biggest fashion icons.

The garments on display are just a small percentage of the Bowes Museum archive, says Joanna Hashagen, curator of fashion and

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textiles there. “The displays are chronological and chosen depending on what themes I want to present or what points I want to illustrate.

Another criteria is the condition of the object; whether it is too fragile, or whether it requires conservation treatment. I like to choose items that have a provenance, so there is a history to tell – about who they belonged to, where they were worn and who wore them, and so on.

The reserve collection is stored in wardrobes or packed in boxes, and stores are monitored in the same way as display cases.” The pieces on show are treated with the utmost care to preserve them, with the temperature and lighting kept just so. “The display garments are mounted on conservation-grade materials, including acrylic, which are fitted so they fully support the garment,” explains Joanna. “We monitor the temperature and humidity using radio-controlled sensors in the display cases, which also protects objects from dust, and the lighting is reduced to 50 lux to protect dyes from fading. We have sticky traps to monitor if there is any insect activity, too.”

Joanna is the curator behind the museum’s latest exhibition, Catwalking: Fashion through the Lens of Chris Moore. This is a blockbuster of a show, spread over three large galleries and bringing together 230 of Chris Moore’s revolutionary images that tell the story of the evolution of fashion better than any book can.

Alongside these amazing pictures you’ll find 40 original catwalk outfits from some of the world’s biggest fashion houses, from Yves Saint Laurent to Alexander McQueen,

including two of Joanna’s many favourite garments: “A Jean Paul Gaultier dress from 1995, paid for by The Friends of the Museum and bought at auction, and a Dior designed by Maria Grazia Chiuri from spring/summer 2017, bought new from Dior with funding from the Art Fund.” This exhibition really is a once-ina-lifetime opportunity to see seminal fashion pieces all under one roof, so make sure you visit before it closes on 6th January 2019.

Where? Barnard Castle, Co Durham, DL12 8NP. How much? An annual pass, with unlimited entry to both The Bowes Museum and the temporary exhibitions, costs £14 for adults and £12 for concessions.

See more: www.thebowesmuseum.org.uk

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Crochet

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C H R I S T M A S Hook yourself a very happy Christmas with this collection of over 50 festive favourites from the Simply Crochet team. Packed with patterns for gifts and decorations, plus winter warmer accessories, it’s the perfect crochet companion for the holiday season.

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£8.99 inc P&P*

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CALL 03330 162 138 and quote ‘YOUR CROCHET CHRISTMAS 18 PRINT1’ ONLINE www.buysubscriptions.com/crochetxmas UK calls will cost the same as other standard ixed line numbers (starting 01 or 02) and are included as part of any inclusive or free minutes allowances (if ofered by your phone tarif ). Outside of free call packages call charges from mobile phones will cost between 3p and 55p per minute.

Lines are open 8.00am-6.00pm weekdays and 9.00am–1pm Saturday for orders only. Overseas please call +44 (0) 1604 973 746. * Price applies to UK orders only. EUR price £10.99, ROW price £11.99. All prices include P&P. Please allow up to 28 days for delivery.

in the shade Mix and match light and dark denims for Jessica Entwistle's patchwork ombrĂŠ tote bag.

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YOU WILL NEED

CUTTING OUT

Q Three pairs of blue jeans Q Lining fabric Q Contrasting topstitch thread Q Matching thread Q Basic sewing kit

Step one From each pair of jeans cut: Outer strips: two pieces, 16x38cm (63⁄8x15in).

Step two From the lining fabric cut two pieces, 38x38cm (15x15in).

Step three From the lightest jeans cut: Lining top strip: two pieces, 8x38cm (31⁄8x15in).

Step four From the darkest jeans cut: Straps: two pieces, 8x90cm (31⁄8x35½in) each.

NOTES Q Use a 1cm (3⁄8in) seam allowance.

Q The denim for the straps shouldn’t be too heavy as this will be harder to work with.

FINISHED MEASUREMENTS Q Finished bag: 36x42cm (141⁄8X16½).

Straps: 80cm (31½in).

MAKING THE OUTER, LINING AND STRAPS Step one To make the outer front, pin and sew a dark and medium denim strip right sides (RS) facing along one long edge and press.

Step two Pin and sew a light denim strip to the raw edge of the medium denim strip RS facing and press. Repeat to make the outer back. 01 Step three Pin one of the lining pieces RS together to a lining top strip along one of the long edges.

Step four Sew, then press the seam open. Repeat for the other lining piece and lining top strip.

Step five Take one of the straps and fold it half lengthways RS together and pin along the length.

Step six Stitch along the length and then turn RS out and press. Repeat for the other strap.

TOPSTITCHING THE PIECES Step one Change to a contrasting thread then topstitch the bag straps down both long edges.

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Step two Repeat along the seams of the bag outer front and denim top lining seam. 02

ASSEMBLING THE BAG Step two Pin the bag outer front and back RS together. Stitch down one side, along the bottom and up the other side. Repeat with the lining, but leaving an 8cm (31⁄8in) turning gap in the bottom edge. Clip the corners and press the seams open.

Step two Pin the bag outer inside the bag lining, RS together and with side seams matching. 03 Step three Sew the bag outer and lining together all the way around the top. Turn the bag RS out through the gap in the lining. Press the edges of the turning gap to the inside of the lining, then slip stitch the lining gap closed.

Step four Topstitch all the way around the top of the bag to hold the lining in place.

ATTACHING THE STRAPS Step one Tuck the short edges of one of the bag straps under by 2cm (¾in) and pin to the RS of the bag front 8cm (31⁄8in) in from the side seam and 4cm (15⁄8in) down from the top edge.

Step two Sew the strap onto the bag front using topstitch thread. Fold the strap into a loop and sew the other end in the same way, 8cm (31⁄8in) in from the other side seam and 4cm (15⁄8in) down from the top edge. Repeat with the other strap. 04

USETHISMONTH'S

SubScRibEr FabRic PAGE 16

sitting pretty Sweeten up your sewing table with Louise Orths' pincushion and needlebook in blush prints.

S wing S t YOU WILL NEED

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Q Matching thread Q Basic sewing kit For the needlebook Q Three different prints, totalling one fat eighth Q Cord: 50cm (20in) Q Felt: 13x5cm (5x2in) Q Medium-weight fusible interfacing Q Erasable fabric marker For the pincushion Q Six different prints, totalling one fat eighth Q Thick/grosgrain ribbon Q Stuffing FABRICS USED The fabrics used are from the Blush collection by Riley Blake.

NOTE Q Use a 1cm (3⁄8in) seam allowance, unless otherwise stated.

Needlebook CUTTING OUT Step one From the three fabrics cut: Outer: 18x13cm (7x5in).

Lining: 18x13cm (7x5in).

Inner pocket: cut two 13x8cm (5x3in).

Step two From the felt strip, cut 12.5x5cm (5x2in).

Step three From the interfacing, cut 16.5x11.5cm (6½in4½in).

PREPARING THE LINING Step one Centre and fuse the interfacing to the wrong side (WS) of the outer fabric piece, following manufacturer’s instructions. Set the piece to one side.

Step two On the right side (RS) of the lining piece mark a line 2cm (¾in) down from the short end.

Step three Place your felt strip on the lining and align the top edge of the felt to the line drawn.

Attach the felt to the lining by topstitching approx 0.25cm (1⁄8in) from the top and bottom edges of the felt. 01 Step four Take the two pocket pieces and sew RS together with a 0.5cm (¼in) seam along the long edge. Turn WS together, press and topstitch approx 1⁄8in from the sewn edge. 02 Step five Place your pocket piece on top of the lining at the opposite end to the felt. Align the raw edges of the lining and the pocket and baste in place along the raw edges.

Step six Marking a vertical line in the centre of the pocket. Stitch along this line, sewing through the pocket and the lining. Backstitch at

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ASSEMBLING THE STRIP PANEL

the start and end of this stitching line.

Step seven At either of the 12.5cm (5in) ends of the lining, mark the middle point – this will be approx 6cm (2½in) from either side.

Step eight Cut two lengths of 23cm (9in) cord.

Step nine Place the end of each piece of cord on the centre marked point, with the rest of the cord facing in towards the lining.

Step ten Tack the cord in place to secure and then sew approx 0.25cm (1⁄8in) from the end.

Sew back and forth to make sure it is secure.

Step one Sew all the strips RS together along the long edges to create one panel. Press. 03 Step two Fold each ribbon tab in half and pin to the strip panel piece. Align each tab at the centre with each seam. Ensure the fold of each tab faces inwards and the raw edges align with the fabric raw edges.

Step three Tack in place 0.25cm (1⁄8in) from the raw edge. Stitch back and forth a few times to make sure the strips are secure.

ASSEMBLING THE CASE

MAKING THE PINCUSHION

Step one Lay the outer fabric on top of the completed lining piece with RS facing and sew all the way around, leaving a gap of approx 7.5cm (3in) on one of the sides.

Step two Turn RS out and carefully poke out the corners. Topstitch all the way around approx 0.25cm (1⁄8in) from the edge, closing the turning gap as you sew.

Step one Place the completed strip panel on top of the cushion side panel with RS facing and pin along the edges.

Step two Start sewing the pieces together at the top left corner of the long edge of the strip piece, backstitching at the start and end, and leaving a 7cm (3in) gap in the centre of this first edge. Then sew down the edge with the ribbon tabs, and along the bottom edge. Leave the other edge unsewn.

Step three For the remaining side, pull apart the two sides, aligning the seam from the top edge with the seam from the bottom edge. Pin into place and sew along this line. 04 Step four Turn the cushion RS out and carefully poke out the corners.

Step five Stuff until you achieve your desired firmness then hand-sew the turning gap closed.

PINCUSHION CUTTING OUT Step one From the ribbon cut five ribbon strips each 5cm (2in) long, for the ribbon tabs.

Step two From your six fabrics cut: Cushion side panel: 16.5x16.5cm (6½x6½in).

Cushion strips: Six strips measuring 16.5x3.5cm (6½x1½in) in each of the different prints.

!

W NE

Winter Wonderland collection

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Featuring a collection of 6 fabulous fabrics in a palette of pretty pastel tones, s, perfect for creating delightful decorations gifts and garments for Christmas!

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

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

Sew a statement maxi dress, boho top, beach bag, girafe toy, pineapple doorstop and shibori blind.

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Make a summer dress and top, Sew Over Itâ&#x20AC;&#x2122;s silk cami, an everyday backpack and travel accessories.

Stitch an occasion dress, sequin shrug and a clutch bag, plus bridal gifts, a satin skirt and a pig plushie.

Make an everyday pinafore, draft a tunic dress, sew stylish home updates and learn toy-making skills.

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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tricks & Treats Magic up a fang-tastic treat bag and bunting set with Kirsty Hartleyâ&#x20AC;&#x2122;s how-to.

ha ow n s t YOU WILL NEED

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For the treat bag Q Outer felt: 68x43cm (27x17in) Q Lining felt: 68x43cm (27x17in) Q Yellow fabric scraps, for the eyes Q White fabric scraps, for the teeth Q Black fabric scraps, for the pupils Q Silver glitter fabric scraps, for the nostrils Q Ribbon: 42cm (17in), to decorate the handle (optional) Q Bondaweb: 24x76cm (10x30in) Q Matching thread Q Basic sewing kit For the bunting Q Black felt: 40x35cm (12x18in) Q Orange felt: 20x25cm (12x18in) Q Glitter fabric: 35x15cm (12x6in) Q Bondaweb: 80x43cm (32x17in) Q Strong thread or fine ribbon: 3.5m (4yds), for hanging Q Yarn, for the pom poms Q Pom pom maker Q Matching thread Q Basic sewing kit NOTES Q The seam allowance is 1cm (3⁄8in) unless otherwise stated.

Q Download the templates from www.simplysewingmag.com/ downloads

MAKING THE FACE

treat Bag CUTTING OUT Step one Download, print and cut out all of the templates for the bag from www.simplysewing mag.com.

Step two Following the manufacturer’s instructions, press the Bondaweb onto the wrong side (WS) of the lining felt piece. Wait for this to cool fully and then carefully peel off the paper backing. Place the outer felt piece over the top and press again to join the outer and lining pieces – these will then be cut out and sewn as one piece.

Step three From this joined piece cut out: Bag body: cut two using the template.

Wings: cut a pair using the template.

Bag base: cut one using template.

Handle: cut one strip 42x3cm (16½x1¼cm).

Step four From the white felt cut: Teeth: cut two triangles.

Step five Press Bondaweb to the WS of the yellow, black and silver glitter fabric scraps.

Step six From the yellow fabric cut: Eyes: cut a pair using the template.

Step seven From the black fabric cut: Pupils: cut a pair using the template.

Step eight From the silver glitter fabric cut: Nostrils: cut a pair using the template.

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Step one Remove the paper backing from the shapes and position them on the treat bag front. Cover with a pressing cloth and press them into place.

Step two Position the teeth and then stitch along the top edge of each tooth only.

ATTACHING THE WINGS Step one Prepare each of the wings by sewing around the outer edge, using a contrasting thread for definition. Then sew the wing structure lines as shown in the picture.

Step two Place each wing 2cm (¾in) below the top of the treat bag then sew along the inner edge to secure. 01

ASSEMBLING THE TREAT BAG Step one Sew the side seam of the treat bag by placing each treat bag half with right sides (RS) facing. Sew 5mm (¼in) in from the edge.

Step two Pin the base into position then sew into place 5mm (¼in) from the edge. 02 Step three Sew along the outer edges of the handle for decoration.

Step four If desired, add a length of ribbon along the centre of the handle for decoration by topstitching along the long sides to secure.

Step five Position each end of the handle to the corresponding side seam on the inside of the treat bag and sew it into place. 03

BUNTING CUTTING OUT Step one Following the manufacturer’s instructions, press the Bondaweb to the WS of the black felt piece. Leave the paper backing attached for now.

Step two Cut this black felt piece into two pieces measuring 20x25cm (12x18in) for the bats, and 35x15cm (12x6in) for the stars. Now carefully peel off the paper backing.

Step three Press the orange felt onto one of the black felt pieces.

Step four Press the glitter felt onto the other black felt piece.

Step five From the orange piece cut: Bats: cut three using the template.

Step six From the silver glitter piece cut: Stars: cut four using the template.

ASSEMBLING THE BUNTING Step one Make pom poms that measure 4cm (15⁄8in) in diameter using the pom pom maker, following the manufacturer’s instructions.

Step two Arrange your bunting shapes and pom poms, spacing them approx 15cm (6in) apart.

Step three Use a large needle to sew alternate shapes onto thread or thin ribbon, working the needle beneath the surface on the WS. 04 Step four Tie loops at either end of your bunting so you can easily hang it up at home.

crafty critter Colouring in just got cuter with Laura Pritchardâ&#x20AC;&#x2122;s appliquĂŠ fox pencil case.

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YOU WILL NEED

CUTTING OUT

Q Outer fabric: 30x40cm (12x16in) Q Lining fabric: 30x32cm (12x13in) Q Wadding: 30x32cm (12x13in) Q White fabric: 20x8cm (8x3in), for the cheeks Q Black fabric: 8x3cm (3x1in), for the eyes Q Bondaweb: 20x8cm (8x3in) Q Zip: 30cm (12in) Q Matching thread Q Basic sewing kit

Step one From the outer fabric cut: Case outer: two pieces 16x30cm (63⁄8x117⁄8).

Ears: 5x8cm (2x31⁄8in).

Step two From the lining fabric cut two pieces, 16x30cm (63⁄8x117⁄8) each.

Step three From the wadding cut two pieces, 16x30cm (63⁄8x117⁄8) each.

Step four Fuse the Bondaweb to the wrong side (WS) of the white and black fabric.

Step five From the white fabric cut: Cheeks: two using the template.

Step six From the black fabric cut: Eyes: cut two using the template.

Nose: cut one using the template.

NOTES Q Follow the manufacturer’s instructions for the Bondaweb.

Q The seam allowance is 5mm (¼in) unless otherwise stated.

Q Download the template from www.simplysewingmag.com/ downloads

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MAKING THE FACE Step one Press the face pieces to the right side (RS) of one of the outer pieces, starting with the cheeks and then layering the eyes on top, positioned at least 7cm (2¾in) in from each side and at least 5cm (2in) up from the bottom edge.

Step two Stitch around the edge of each appliqué piece using blanket stitch.

Step three Fold one ear fabric piece in half horizontally with RS facing. Place the ear template on top and draw around it. Stitch along your drawn lines then cut out the ear shape, approx 2mm (1⁄8in) from the stitching.

Leave 6mm (¼in) excess at the bottom edge.

Step four Turn RS out and press. Fold the raw

edge to the inside, position at the top of the face and topstitch along the bottom edge.

Step five Repeat with the other ear. 01

ASSEMBLING THE CASE Step one Place a piece of wadding on your work surface and then the outer piece with the face on top, RS up. Place the zip aligned with the top edge with RS together and then add a piece of lining, RS facing down. 02 Step two Stitch along the top edge with a zip foot. Press the lining away from the zip.

Step three Open the zip a little then repeat with the other outer, wadding and lining on the other side of the zip. 03 Step four Fold the pencil case in half to align the long raw edges, RS together. Pin and stitch together to create a tube. Press the seam open.

Step five Flatten the tube so the zip is at the top, centrally aligned with the seam beneath. Stitch along the raw edges to close the short sides. 04 Step six Flatten the corners at the bottom of the case so that the side seam is uppermost and central, and pin together. 05 Step seven Measure 3cm (1¼in) from the corner and mark a line cutting across the corner. 06 Step eight Sew along the line, then cut away excess, leaving a 6mm (¼in) seam. Repeat for the other corners.

Step nine Turn the pencil case RS out through the open zip to finish.

forever friend Make an heirloom toy theyâ&#x20AC;&#x2122;ll treasure forever with Jo Carterâ&#x20AC;&#x2122;s classic rag doll design.

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YOU WILL NEED

CUTTING OUT

Q Hair fabric: 28x28cm (11x11in) Q Skin fabric: 40x40cm (16x16in) Q Body fabric: 40x40cm (16x16in) Q Leggings fabric: 20x20cm (8x8in) Q Dress fabric: 22x40cm (9x16in) Q Shoe fabric: 20x10cm (8x4in) Q Snap fasteners or Velcro (optional) Q Polyester toy filling Q Stranded cotton in black Q Two pieces of ribbon: approx 20cm

Step one Download, print and cut out all the template pieces.

Step two Arrows on the pattern pieces indicate pattern/pile direction for marking and cutting out.

Step three When the pattern specifies to cut two or more of a pattern piece, after marking out half of the pieces required the template needs to be turned over to mark out the remaining half so that the pieces are cut as mirror images.

Step four Using a water erasable pen, draw around the pattern pieces onto the wrong side (WS) of the fabric and cut out the following: From the hair fabric cut: Large fringe – cut 1.

Small fringe – cut 1.

Back hair – cut 2.

Pigtail – cut 2.

From the skin fabric cut: Face – cut 1.

Neck – cut 1.

Arm – cut 4.

Feet – cut 2.

From the body fabric cut: Front body – cut 1.

Back body – cut 2.

Sleeve – cut 2.

Dress front facing – cut 1.

Dress back facing – cut 1.

From the leggings fabric cut: Legging – cut 2.

FABRICS USED Shannon Solid Cuddle 3 in Brown Kona Cotton Solids in Parchment by Robert Kaufman.

Sigrid in Dove White, Cottage by Tilda.

Stem Dot in Turquoise, Foxglove by Aneela Hoey for Cloud 9 Fabrics.

Essex Yarn Dyed Linen in Malibu by Robert Kaufman.

FINISHED SIZE Approx 40cm (16in) tall.

NOTES Q Download the templates from www.simplysewingmag.com/ downloads Q The seam allowance is 6mm (¼in), unless otherwise stated.

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From the dress fabric cut: Dress front – cut 1.

Dress back – cut 1.

From the shoe fabric cut: Shoes – cut 2.

MAKING THE FACE Step one As the pigtails, arms and legs are sewn directly into seams, we advise that you sew over the joins to make sure they are firmly secured. This will reduce the likelihood of them being pulled out by accident.

Step two With right sides (RS) of the small fringe and the corresponding side of the face together, sew the pieces together and then sew the large fringe to the top of the face.

Step three Sew a back hair piece to its corresponding side of the neck. Repeat for the other side. 01 Step four With RS together, fold a pigtail in half and sew around the sides, leaving the short end open, and then turn RS out. With the open end on the right, fold the open end in half and tack the fold in place.

Step five Repeat to make the other pigtail, but this time with the open end on the left so that the fold is on the opposite side to give a pair of mirrorimage pigtails. 02 Step six With the front folded side of the pigtails against the RS of the face, tack them into position where marked. 03

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MAKING THE BODY Step one Sew a back body piece to its corresponding side of the front body at the shoulder with RS facing. Repeat for the other side.

Finger-press the seams open. 04 Step two Sew the neck to the top of the body with RS facing. 05 Step three Place two mirror-image arm pieces one on top of the other with wrong sides (WS) facing and sew together, leaving the top open.

Step four This doll has been made using mainly cotton fabric so clipping into internal curves and cutting notches around the external curves is instructed, but clipping isn’t always required with stretchy fabric. When clipping, always take care to avoid cutting into the stitching.

Step five Clip into the internal corners and clip V-shaped notches in the seam allowance around the external curves of the arm. Turn RS out and stuff, leaving the top 1-2cm (3⁄8-¾in) empty. Tack the end closed to keep the raw edges aligned.

Repeat to make the other arm. 06 Step six Zigzag stitch along the bottom edge of the sleeve and then press the seam allowance to the WS and sew into place to hem. Fold the sleeve in half RS together and sew along the side seam.

Turn the sleeve RS out and fit it over the top of an arm, making sure that all of the raw edges line up.

Tack the sleeve in place at the top of the arm.

Repeat to make and fit the other sleeve. 07 Step seven With RS facing, place the front and

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back body together along one side and sandwich the top of an arm in place between the shoulder seam and the marker. Pin in place with RS facing.

Sew the side of the body together, fixing the arm in position. Repeat for the other side. 08

MAKING THE LEGS Step one With RS facing up, position a shoe piece over a foot and topstitch around the top of the shoe approx 3mm (1⁄8in) in from the edge. Sew around the remaining sides of the shoe inside the seam allowance to hold the shoe securely to the foot. Trim away any excess shoe that overhangs the foot. Sew the top of the foot section to the bottom of a legging. Repeat for the other shoe, foot and legging. 09 Step two With RS together, fold a leg piece in half and sew along the back and down around the shoe/foot. Turn RS out and stuff, leaving the top 1-2cm (3⁄8-¾in) empty. Bring the top open end of the leg together so that the seam runs centrally down the back of the leg and tack the end closed.

Repeat for the other leg. 10 Step three Close the dart at the back of each back body with the RS of the fabric facing. Sew the back body pieces together from the bottom up as far as the dart. 11 Step four With the front of the legs against the RS of the front body, tack the legs in position one at a time where marked. Bring the front and back body together and pin RS together. Sew across the

bottom of the body, fixing the legs in position.

Take care to remove all pins. 12

ASSEMBLING THE DOLL Step one With RS together, start at the top centre notch on the large fringe and sew the face to the back hair/neck section, ensuring that the markers line up during sewing.

Step two With RS together, sew the back of the head and body closed, but leaving a 7-8cm (3in) opening in the back of the doll. 13 Step three Zigzag stitch around the lower half from underarm to underarm on each of the dress and facing pieces. With RS together, place a dress back facing piece over a back dress pieces so that the edges align.

Step four Sew these pieces together from underarm to underarm, leaving the sides free. Clip into the seam allowance at the internal corners and clip V-shaped notches around external corners. Turn RS out and press.

Step five Repeat these steps to assemble the front dress pieces. 14 Step six Topstitch from the underarm to underarm around the top of the front and back dress sections. 15

MAKING THE DRESS Step one With RS together, sew the front and back dress along the sides. Turn the dress RS out and then press the seam allowance to the WS

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around the bottom of the dress and hem. 16 Step two Securely fit your preferred fastener to the tops of the dress straps on either side. Note that if you do not want the dress to be removable, the straps can be hand-stitched together once the dress is on. 17

FINISHING THE DOLL Step one Turn the doll the RS out and stuff.

Step two Mark out the facial features using a water-erasable pen and embroider a face using black stranded cotton (three-strand thickness for the smile and eyelashes).

Step three Re-adjust any filling that has become disturbed and close the opening in the back using ladder stitch then put on the dress.

Step four Tie each piece of ribbon into bows and trim the ends (apply glue to seal if desired). Make several stitches through the knot of the bow so that it canâ&#x20AC;&#x2122;t be untied then stitch in place at the top of each pigtail. 18

See Jo Carter sewing her toys live on Sewing Quarter on Freeview 73 and Sky 687, at www. sewingquarter.com, or www.youtube.com/ sewingquarter

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Ensure dollyâ&#x20AC;&#x2122;s arms, legs and pigtails are secure by sewing the joins more than once.

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FRESH IDEAS WITH FABRIC

The guide

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

nd essential information, useful stitches and key sewing techniques on these pages.

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

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Pins

A flexible fabric tape measure will take accurate measurements.

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

SmaLl SciSsors Use for snipping threads and cutting notches.

TaiLoRâ&#x20AC;&#x2122;s ChaLks Chalk temporarily marks fabric and can be easily brushed away.

ThiMble Wear to protect your fingers when handstitching.

Seam RipPer This sharp blade cuts through and unpicks stitches.

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FRESH IDEAS WITH FABRIC

The guide HeiGhT

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Bust Around the fullest part of your bust

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

MACHINE NEEDLES

There are many 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.

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

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

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

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

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

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

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

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

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

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

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

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FRESH IDEAS WITH FABRIC

The guide GLOSSARY

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

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

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

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

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

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

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

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

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

NotIons Small tools or accessories used

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

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

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

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

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

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

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

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

Known as basting in the U.S.

TopStItcHing A line of stitching worked 5mm (¼in) from the folded or seam edge. Used to hold the seam in place and as a decorative finish.

UndErStiTcHing A line of stitching worked through the facing and seam allowance 3mm (1⁄8in) from the seam to stop the facing rolling to the outside of the garment. Understitching will not be visible on the outside.

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

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

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

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

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

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

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biker chic Blogger Julia Bobbin discovered the joys of slow sewing in perfecting the fit and finish of her leather biker jacket.

“When I first discovered sewing I fell for it hard. Sewing enables me to develop new skills, learn what I like to wear, and satisfy that DNA-deep urge to create and make.

This leather jacket was a discovery moment for me. I had been obsessing for months with a jacket design in my head, and I had spent hours making muslin after muslin until I got the fit and style I was after. I used the Eddie Biker Vest pattern by Style Arc as my block pattern and then changed the design. The pattern is just a vest, so I added sleeves from Burdastyle's 108B pattern.

I've always been in such a hurry to finish what I’m making and start working on my next garment. This jacket was the first time that I really slowed down and took my time

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and, to my surprise, I found that sewing slowly enhanced my enjoyment of the project, both in the creating and in the wearing.

This was the first creation where I felt immense satisfaction and pride in the finished piece and it reminded me that the joy is in the making, and not just in the wearing.

Learning to focus on perfecting the design and fit, even if it means making three muslins, has actually increased my productivity and enhanced my love of sewing. When I wear this jacket I am reminded of how far I’ve come, what I’ve learnt and how much I love my craft; that brings me immense joy.”

See more of Julia's projects at www.julia bobbin.com, and follow her on Instagram at www.instagram.com/juliabobbin

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