AUTUMN 2019
NE W A RRI VA The ‘Sewing with Style’ offers are available from Janome sewing machine retail outlets nationwide. Promotion starts 2nd September 2019 until 2nd January 2020. (All offers subject to stock availability)
AVON Direct Sewing Machines, Bristol – 0117 9778216 Sewing Studio (Mark Pickles), Bath – 01225 482413 BEDFORDSHIRE BSK Limited, Bedford – 01234 217096 Tudor Rose Patchwork, Oakley, Bedford – 01234 824983 BERKSHIRE Sew Devine, Reading – 0118 926 8664 CAMBRIDGESHIRE Sew, Knit, Craft, Cambridge – 01223 350691 Sew Much To Do, Ely – 01353 664 000 CHESHIRE Allan Sheen Sewing Machines, Winsford – 01606 593554 Jaycotts, Chester – 01244 394099 Phil Morton Sewing Machines. Macclesfield – 01625 433 131 WeaverDee, Middlewich – 01606 339 818 CORNWALL The Sewing Studio, Camborne – 01209 216942 DERBYSHIRE Elegance, Derby – 01332 382292 Ilkeston Sewing Centre, Ilkeston – 01159 307664 Sew Essential, Swadlincote – 01283 210422 DEVON Exeter Sewing Machine Company, Exeter – 01392 275 660 Haberdashery Fabrics and More, Plymouth – 01752 243949 DORSET Bournemouth Sewing Machines, Bournemouth – 01202 424825 Sew Jessalli, Blandford Forum – 01258 268 541 So ‘n’ Sews, Weymouth – 01305 766 411 EAST MIDLANDS Rutland Sewing, Rutland – 01572 756 468 ESSEX Creative Lady, Burnham on Crouch – 01621 928 225 Franklins, Colchester – 01206 563955 & 574758 Franklins, Chelmsford – 01245 346300 Home of Sewing by Regent, Ilford – 0208 478 0669 GLOUCESTERSHIRE The Patchwork Basket, Newent – 01531 822442 West End Sewing Centre, Cheltenham – 01242 244025 HAMPSHIRE Greenhill Patchwork & Quilting, Romsey – 01794 517973 Hampshire Sewing Machines, Fareham – 01329 280499 New Forest Fabrics, Dibden Purlieu – 02381 783386 Reads of Winchester, Winchester – 01962 850 950 Sew Creative, Petersfield – 01730 858020 HEREFORDSHIRE Doughtys Fabric Warehouse, Hereford – 01432 353951 HERTFORDSHIRE Chicks Embroidery, Letchworth Garden City – 01462 670 007 Rebecca Woollard Sewing School, Hatfield Heath – 07887 654 717 Rona Sewing Machines, Waltham Cross – 01992 640250 Sewfine Sewing Machines, Watford – 01923 628 882
AMAZING
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OFFERS FROM £99
KENT Ashford Sewing Centre, Ashford – 01233 620948 Barcham Sewing Centre, Whitstable – 01227 264 271 The Sewing Space, Hythe – 01303 261329 World of Sewing, Orpington – 01689 638 638 World of Sewing, Tunbridge Wells – 01892 533188
SUSSEX Clothkits Ltd, Chichester – 01243 533180 Eclectic Maker, Worthing – 01903 681000 Hastings Sewing Centre, Hastings – 01424 423108 TYNE & WEAR Sewing Machine Sales, Whitley Bay – 0191 2525825 Tullys Sewing Machines, Sunderland – 0191 565 7995
LANCASHIRE Hobkirk Sewing Machines Ltd, Blackburn – 01254 693555 WARWICKSHIRE Lestan Sewing Machines, Nelson – 01282 614511 The Sewing Emporium, Leamington Spa – 01926 427 572 M & S Sewing Machines, Heywood – 01706 624651 & 366943 WILTSHIRE SA Sewing Machines, Rochdale – 01706 355529 Franklins, Salisbury – 01722 554466 LEICESTERSHIRE Cresswell Sewing Machines, Oadby, Leicester – 0115 926 7572 WEST MIDLANDS Brewers Sewing Machines, Wolverhampton – 01902 458885 The Sewing Café, Hinkley – 01455 698 034 Coventry Sewing Centre, Coventry – 02476 222134 LINCOLNSHIRE D C Nutt Sewing Machines, Walsall – 01922 497603 Couling Sewing Machines, Lincoln – 01522 521841 Frank Nutt, Birmingham – 0121 444 3978 L & C Fabrics, Cleethorpes – 01472 600 874 L & M Nutt, Sutton Coldfield – 0121 373 5497 Seweezy, Gainsborough – 01427 614570 S Nutt Sewing Machines, Birmingham – 0121 327 2828 LONDON (GTR) WORCESTERSHIRE All Redgewell Sewing, South West London, 0208 3373444 Creative Hands 2, Worcester – 01905 24940 Lewisham & Deptford Sewing Machines, Lewisham & Deptford Brenda Killigrew Sewing Studio, Bromsgrove – 01527 584 840 – 0208 692 1077 YORKSHIRE The Sewing Centre, Battersea – 0207 228 3022 Wimbledon Sewing Machine Co Ltd, Tooting Bec – 020 8767 0036 Arcade Sewing Machines, Huddersfield – 01484 429808 Electra (DA) Company, Doncaster – 01302 340 369 MANCHESTER (GTR) Fabric Mouse, Richmond – 01748 811 593 Bamber Sewing Machines, Manchester – 0161 707 7786 Gillies Fabrics & Sewing Machines, York – 01904 626 244 R. Bullock & Son Ltd, Wigan – 01942 247836 Hull Sewing Centre L & C, Hull – 01482 325 072 North Bar Fabrics – Beverley – 01964 551 955 MIDDLESEX Sewing Centre, Scarborough – 01723 363167 SM Sewing Machines Ltd, Wembley – 0208 6891222 White Rose Sewing Machine Co., Harrogate – 01423 503767 NORFOLK Sew Creative, Norwich – 01603 305888 CHANNEL ISLANDS Sewing Machine World, Kings Lynn – 01553 773362 Rachel’s Textiles Studio, Jersey – 01534 878 877 NORTHAMPTONSHIRE Bramble Patch, Weedon – 01327 342212
ISLE OF MAN Joan’s Wools & Crafts, Onchan – 01624 626 009
NOTTINGHAMSHIRE Cresswell Sewing Machines, Daybrook, Nottingham – 0115 9267572
IRELAND Singer Sewing Centre, Ballymena – 028 2564 0034
OXFORDSHIRE Witney Sewing Machine Centre, Witney – 01993 704535 / 702772 SHROPSHIRE Sewing Machine Centre, Shrewsbury – 01743 343902 SOMERSET Bredons Sewing Machines, Taunton – 01823 272450 SUFFOLK Franklins, Ipswich – 01473 221188 Sew Much To Do, Bury St Edmunds – 01284 755459 SURREY All Surrey Sewing Machines, Worcester Park – 0208 337 344 C & A Sewing Machines, Cranleigh – 01483 267777 In Stitches, Woking – 01932 349400
SCOTLAND Aberdeen Sewing Machines Ltd, Aberdeen – 01224 478555 David Drummond, Edinburgh – 0131 539 7766 ESC (The Sewing Machine Shop), Fochabers – 01343 823961 Pembertons Sewing Machines, Stirling – 01786 462993 Quilt Creations, Inverness – 01463 719369 Sew Confident, Dundee – 07810 005 237 Sew Confident, Glasgow – 0141 280 0487 The Sew Studio, Dunfermline – 01383 621894 WALES Butterfly Fabrics, Cardiff – 02920 470808 Calico Kate, Lampeter – 01570 422866 Cliffords Sewing Machines Ltd, Swansea – 01792 655 928 J & B Sewing Machine Co Ltd, Cardiff – 02922 402418 J & B Sewing Machine Co Ltd, Newport – 01633 284646 Sewing Machines Direct, Wrexham – 0800 622 6224 The Quilting Bee, Llandudno – 01492 878 599
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UK'S NUMBER 1 SEWING MAG!
10 ChrIsTmas GifTs to sew!
FRESH IDE
BRIC
ISSUE SIXTY TWO
IN SIZES 6-20 +ExcLuSive
TroUser set
ECO-SEWING
Embroidered jeans Stitched jumper T-Shirt shopper
21 garments, decorations and gifts to sew for Christmas +INSIDE: Pudding doorstop Faux fur bag Wool stocking Advent calendar
Create your own style
The Innov-is F420 sewing machine is designed to help you create your own style and includes a host of advanced features you’ll love. A wide range of decorative stitches, plus the ability to combine and memorise stitches, while the Square Feed Drive System gives smooth, even sewing on any fabric. You can even cut the top and bottom threads with the touch of a button. It’s a machine to nurture and expand your skills well into the future.
brothersewing.co.uk
For full details visit your www.brothersewing.co.uk or visit your local Brother stockist.
FRESH IDEAS WITH FABRIC Say hello to the most joyous season of the year! It’s almost the holidays and we can’t think of a better time of year to show off your sewing skills. From handmade advent calendars and decorations, to glamorous vintage-inspired party dresses and glitzy skirts (perfect for dancing the night away on New Year’s Eve) – your friends will be so impressed when you say “I made it!” Get your whole family in the festive spirit with embellished jumpers, personalised stockings, a totally irresistible pudding doorstop and giant fabric holly leaves. Because bigger is always better at Christmas, right? #simplysewingmag
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a s i r Ch for ou make , 18 h ISSUE SIXTY TWO
FRESH IDEAS WITH FABRIC
CONTENTS
Mak Th D es , P rt 32
P18 6 BOLD ANDBRIGHT
Ea At e Ns f R o
58
Se i T t In Ak u On w Y h Co s De s Se i G Up r Ow r
w T ...
18 BRIGHT MAKES FOR CHRISTMAS
38 WORKSHOP: NECKLINES
32 PATTERN: THE PARTY DRESS
Your in-depth tutorial for sewing
40 PATTERN: THE TROUSER SET
a neat sweetheart neckline
44 PATTERLESS: FAUX WRAP SKIRT
85 HEAVY CHAIN STITCH
50 PATTERNLESS: WOOL STOLE
Learn the technique and make
55 FAUX FUR CLUTCH BAG
a mini monogram stocking
63 FRENCH KNOT SWEATER UPDATE
87 TEMPLATES
65 UPCYCLE: T SHIRT TOTE BAG
Reindeer plushie toy
74 TOY: REINDEER PLUSHIE
93 SEWING GUIDE
78 CHRISTMAS PUDDING DOORSTOP 83 WOOL SCANDI STYLE STOCKING
Tips, techniques and a glossary
Se reind e lay to , 74
Sew iT youR way
55 85
win FabRics, TooLs + PatTerns WorTh £275 Enter to win Miffy fabrics, Closet Case patterns, Hemline scissors, Seasalt fabric, a bumper thread box – and more!
Enter on p15
78
It always amazes me m how different fabriccs can completely transform patterns! Take our gorgeous Party Dress (p32) – one of our samples is sewn with luxurious blue crepe with a vintage-style lace overlay, whilst the other is showcasing a bold leopard print for a more edgy look. What fabric will you go for? Then there's Athina Kakou's trouser set (p40), which you can choose to make as culottes, trousers or a cool jumpsuit. With a comfy waistband, flattering wide legs, and pockets, it's already made its way onto my 'favourites' list (and not just because I think that floral barkcloth is divine!). Go on, sew something bold...
Charlie Moorby, Moorby Editor
9 PINBOARD: Ideas, events, new fabric 15 WIN: £250 SEWING GOODIES 48 COLUMN: KAROLINE HUGHES 53 PIN UP: NEW TREND PATTERNS 58 PROFILE: ATHINA KAKOU 62 SUBSCRIBE OVERSEAS 67 PIN UP: STITCHED JEANS 70 FEATURE: ONLINE CLASSES 92 BACK ISSUES TO COLLECT 97 COMING UP NEXT MONTH 98 MY FAVE THING: JULIET UZOR UK'S NUMBER 1 SEWING MAG!
FR
IN SIZES 6-20 +ExcLuSive
TroUser set
s
21 garments,decorations and gifts to sew for Christmas +INSIDE: Pudding doorstop Faux fur bag Wool stocking Advent calendar
AT SUBS O FERS! P16 SAVE TIME, MONEY AND HASSLE WITH AN ANNUAL SUBSCRIPTION
* GIFTS SUBJECT TO CHANGE. PAPER GIFTS ONLY AVAILABLE ON UK NEWSSTAND.
goOd readS & ideaS
CONTRIBUTORS A huge thank you to these talented makers...
FRESH IDEAS WITH FABRIC
EDITOR Charlie Moorby SENIOR ART EDITOR Lisa Jones PRODUCTION EDITOR Michelle Grady TECHNICAL EDITOR Roisin McKenna DIGITAL EDITOR Zoe Williams PHOTOGRAPHY Philip Sowels and Jesse Wild
Call 0117 300 8206 SENIOR ADVERTISING MANAGER Penny Stokes SENIOR SALES EXECUTIVE Tiffany Jackson CLIENT PARTNERSHIP MANAGER Beckie Pring
ojects ns and prm” r e tt a p y “Find m w.athinakakou.co at ww
“Browse my embroidery patterns at www.thethreadhoney.com”
SUBSCRIPTIONS DIRECTOR Jacky Perales Morris SENIOR DIRECT MARKETING EXECUTIVE Kate Jones HEAD OF NEWSTRADE MARKETING Natalie Shearer NEWSTRADE MARKETING MANAGER Helen Seymour
Paul Torre, Karen Flannigan
ATHINA KAKOU
JENNIFER CARDENAS RIGGS
Athina started sewing on her grandmother’s machine as a way to de-stress. She now hopes to help sewists create the handmade wardrobe of their dreams with her simple patterns. Make her staple trousers and jumpsuit pattern on page 40.
Jennifer is a graphic designer and textile artist known on Instagram as @threadhoney. Her new book, Embroidery Now, includes 30 modern stitching projects for your home and wardrobe. Try her French knot sweater project on page 63.
PRODUCTION COORDINATOR Derrick Andrews PRODUCTION MANAGER Sîan Rodgers / Emma McGuinness PRODUCTION DIRECTOR Sarah Powell
DIRECTOR OF INTERNATIONAL LICENSING & SYNDICATION MANAGER Tim Hudson tim.hudson@immediate.co.uk INTERNATIONAL PARTNERS MANAGER Anna Brown anna.brown@immediate.co.uk
PUBLISHER Liz Taylor CHIEF EXECUTIVE OFFICER Tom Bureau GROUP MANAGING DIRECTOR Andrew Gabriel MANAGING DIRECTOR, BRISTOL Andy Marshall
FRONTLINE Call +44 (0)1733 555161
D
U
BY WILLIAM GIBBONS
O “Follow me on Instagram @julietuzor_ for inspiration.”
“See my creative adventur @karoline.skandimama”es
JULIET UZOR
KAROLINE HUGHES
Winner of The Great British Sewing Bee 2019, Juliet has been sewing since 2013. She now hopes to inspire and educate with her blog posts, YouTube channel and tips and tricks on Instagram. See her statement sleeve pattern hack on page 98.
Karoline, aka Skandimama, is an assistant professor in culture and communication by day, and spends her spare time on her blog www.skandimama.com and Instagram @karoline.skandimama. She shares how to find your sewing mojo on page 48.
EDITORIAL TEAM simplysewing@immediate.co.uk SUBSCRIPTIONS TEAM simplysewing@buysubscriptions.com 03330 162 149
THURSDAY 28 NOVEMBER 2019 No gift included? Ask your newsagent. Covergift may be unavailable overseas.
OTHER CONTRIBUTORS Juliet Bawden, Jessica Entwistle, Sarah Gane, Mollie Johanson, Portia Lawrie, Melanie Macleod, Rebecca Reid, Angela Umpleby, Debbie Wainhouse, Lucy Ward, Clare Youngs Special thanks to: Becki Clark and Nicky Gotobed
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COMPETITION RULES By taking part in one of our Competitions, you agree to be bound by these Competition Rules. Late or incomplete entries will be disqualified. Proof of posting (if relevant) shall not be deemed proof of delivery. Entries must be submitted by an individual (not via any agency or similar) and, unless otherwise stated, are limited to one per household. The Company reserves the right in its sole discretion to substitute any prize with cash or a prize of comparable value. Unless otherwise stated, the Competition is open to all GB residents of 18 years and over, except employees of Immediate Media Company and any party involved in the competition or their households. By entering a Competition you give permission to use your name, likeness and personal information in connection with the Competition and for promotional purposes. All entries will become the property of the Company upon receipt and will not be returned. You warrant that the Competition entry is entirely your own work and not copied or adapted from any other source. If you are a winner, you may have to provide additional information. Details of winners will be available on request within three months of the closing date. If you are a winner, receipt by you of any prize is conditional upon you complying with (among other things) the Competition Rules. You acknowledge and agree that neither the Company nor any associated third parties shall have any liability to you in connection with your use and/or possession of your prize. Competition open 31 October - 5 December 2019.
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Immediate Media Company Bristol Limited (company number 05715415) is registered in England and Wales. The registered office of Immediate Media Company Bristol Limited is at Vineyard House, 44 Brook Green, London W6 7BT. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Immediate Media Company Bristol Limited cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Immediate Media Company Bristol Limited a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk. Although every care is taken, neither Immediate Media Company Bristol Limited nor its employees agents or subcontractors shall be liable for loss or damage.
ADV RTIS M NT F ATUR
Bring daylight indoors Support your stitching skills with a Daylight lamp that suits your sewing space It was during the 1980s that Daylight founder Patrick Jacquelin first realised how important light could be. Many of his friends were artists, painters and sculptors and struggled to work freely and creatively with poor light conditions. Rediscovering a forgotten technology, a blue tinted daylight bulb, Patrick set to work to help his friends, designing a light that could be positioned in many different ways, with different settings, to suit their specific needs. Realising that anyone who was passionate about their work would benefit from his product, he started to introduce it to crafters, quilters and sewists, who reacted even more enthusiastically to his lights. The Daylight Company was born.
Slimline 3 Floor Lamp, £180 (RRP)
HALO GO SEWING MACHINE LAMP This sewing machine lamp may be small, but it’s certainly mighty. Pop it onto your machine and direct the powerful LED light to illuminate your seams. Thanks to its easy-to-attach mount system, it can also easily be swapped between sewing machines. Sewing Machine Lamp, £33 (RRP)
If you’re a fan of sewing on the go or love to head off to a sewing retreat, you’ll know that finding a good light to work under can be tricky. Enter the Halo Go – this truly portable lamp also has a magnification lens allowing you to focus on even the smallest of stitching, wherever you are. Its foldable design makes it easy to carry and it now comes with a USB rechargeable battery, holding power for 8 hours of light. Two brightness levels of daylight LEDs will shed plenty of light on your seams and it offers both a 5 diopter (2.25x) magnification lens and a 12 diopter (4x) magnification inset lens. Halo Go, £59.99 (RRP)
Find these lights, as well as your nearest stockist, at The Daylight Company (www.daylightcompany.com)
yarn
fabric
needles & hooks
haberdashery
buttons
ribbons
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IDEAS
INSPIRATION
ACCESSORIES
WEBSITES
EVENTS
STUFF
STATE OF PLAY Papercut Patterns’ Rubix collection is all about getting playful with patterns: designed to be mixed, matched and customised – and some even worn back-to-front – they’re versatile wardrobe-building pieces that can be styled together, with different construction details for a different look every time. Find them at www.papercutpatterns.com
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BRIGHTIDEA Forever misplacing W
your thread snips? It's time to swap your usual pair for these easy-to-spot neon ones by Milward! Available in three zingy shades and 10cm (4in) in size, they’ll certainly stand out on your sewing table, or amongst all the other tools and habby in your craft kit. Obviously, we’ll be stocking up on every colour – you can never have too many, right? Email groves@stockist enquiries.co.uk
Dr A Da L Sewn a few tricky projects and feeling ready to stretch your skills? Sew Over It’s Dahlia Coat is a chic wrap style for intermediate makers looking to boost their dressmaking repertoire. You’ll learn how to handle wool fabrics, sew a lining and add welt pockets for a pro finish. Visit www.sewoverit.co.uk
READYORNOT Head off on a journey across the seas, sand and skies with Miffy, a little bunny with a sense of adventure. This new collection shows Miffy playing at the beach, flying a kite, going up, up and away in a balloon basket, sailing and piloting a plane, all in a classic palette of red, white and blue. Psst! Go to p15 for a chance to win a Miffy fabric bundle. See www.visagetextiles.com for stockists.
QUIRKY CHRISTMAS
Nothing gets us feeling festive quite like a visit to Liberty’s beautiful London store, and they’ve captured the magic of Liberty at Christmas in a new fabric collection launching at Alice Caroline. The fun designs were inspired by the store's wooden panels and balconies, which are intricately carved with animals; on these quirky prints they’ve burst into life to help (and hinder) the Yuletide preparations. The motifs were created to accompany seven poems by Gabrielle Djanogly, which describe the animals' nocturnal antics. See the full Christmas collection at www.alicecaroline.com
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Think Christmas is all about robins and reindeer? Not at Liberty! Monkeys, bears and more feature on their festive prints.
Pinboard
Th At e N d T Shirts Sew a classic buttonup with Production Editor Michelle’s shirt pattern picks.
mini profile DROPCLOTH SAMPLERS How do you like to relax? For us, it’s with handstitching – there’s something so meditative about the repetitive rhythm of guiding a needle and thread through fabric, and the satisfaction of finishing your stitched piece. This is particularly true of Rebecca Ringquist’s Dropcloth Samplers: designed to be like colouring-book pages for embroidery, they come pre-printed ready to work on whenever you’re in need of a stitching pick-me-up. Samplers have always interested Rebecca, but she didn’t consider creating her own until she was teaching embroidery and screenprinting and decided to print some designs for a faculty sale at the end of the session. “This was in 2009, before Instagram but during the heyday of blogs. A few prominent bloggers were at that retreat and ended up posting their samplers, and they sort of took off overnight after that.” She had to act fast to meet the growing demand. “I remember I was on vacation shortly after the retreat and my email started blowing up with requests for samplers. I quickly opened an Etsy shop from a dial-up connection and have been in business ever since. Dropcloth Samplers started out on a bit of a whim, and was definitely a side project for a few years, but has developed into my full-time job.” Now offering embroidery samplers and online workshops through her own website, Rebecca weaves her work in and around her toddler and baby: “I was never a night owl before they were born, but I find myself sneaking up to the studio after everyone’s in bed to work on new drawings, fill orders, or just sit and stitch. Things that used to take
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weeks to develop have to happen more quickly these days, in bursts of alone time on weekends and evenings. I recently hired an assistant who is taking care of almost all of the shipping and handling for my business, and that has been life-changing. I couldn’t do it all without Maryann.” The latest sampler she's added to the collection is an alphabet-based design called Disco Nap. “It’s interesting, because historically samplers have always contained the ABCs, but it took me nine years to design my own,” says Rebecca. “Now Disco Nap is out in the world I feel like I’ve unleashed the beast. There are two more alphabet samplers in the works on my drawing table.” For newbie stitchers, Rebecca advises indulging your rebellious streak: “Don’t worry too much about the ‘rules’ of embroidery. I like to think of embroidery as a way of drawing – no one bats an eye at developing your own unique style of drawing. Messy drawing is celebrated!” It’s all about enjoying the process, and embracing your way of doing things. “If you like knots on the back of your fabric, that’s great! If you like to the back to look neat and tidy, that’s cool, too! I’m partial to a bit of a tangle myself, and that’s a-ok.” Here’s to messy, perfectly imperfect stitching! See more at www.dropclothsamplers.com
“Don’t worry too much about the ‘rules’ of embroidery. I like to think of embroidery as a way of drawing."
ROSA BY TILLY AND THE BUTTONS Optional piping or topstitching, gently curved princess seams, a pointed back yoke, button-tab sleeves, a cute curved hem…if you’re looking for a classic shirt with cute details, Tilly’s Rosa is packed with them! Find the pattern at shop.tillyandthebuttons.com CLOSET CASE FILES’ KALLE Kalle’s flattering loose fit is one of my favourite shapes to wear, and with lots of mix-and-match options this is a great-value pattern for your stash: included are three looks to make, with different collar, pleat and placket options. Visit store. closetcasepatterns.com HARRISON SHIRT BY CASHMERETTE This staple shirt has clever double princess seams for a perfect fit, and you’ll boost your skills with techniques such as sewing a two-piece collar, yoke, and placket, separate button bands, and buttoned cuffs. Find this and more at www.cashmerette.com CAMIMADE’S FEUILLAGE I can’t resist patterns that have something unique about them, so I love the unusual floaty side panels and vents on this Mandarin-collar shirt – make it in a drapey fabric such as viscose or double gauze to give it an elegant swish. See www. camimade.com
Pinboard MAKERS GONNAMAKE How to make
© Paul Ingram Tedd
workwear chic? Use vintage French utility styles as inspiration, as Closet Case Files have for their new Sienna Maker Jacket. Designed for hardwearing use by crafty types, it can be worn as outerwear and as a handy cover-up inside the studio, too. Make it in a durable fabric such as denim, canvas or twill, as a cropped, mid or full-length jacket, and master skills such as adding a back button placket. store.closet casepatterns.com
F r a Sq A Selkie Patterns' jumpsuit pattern, Lin (linen in Swedish) has an elegant square neckline, fitted princess-seam bodice, three trouser lengths and a tie waistband for a cinched-in shape. Which fabric to use? Linen, of course! See more at www.selkiepatterns.co.uk
3 of the best SEWING GIFTS Treat stitchy pals to these sewing goodies (or leave this page on show as a not-so-subtle hint). 1. What to give the sewist who has everything? Samantha Claridge has the dilemna solved with this kit: it's a nifty needle-storage solution and a fun project. £11.95, www.samanthaclaridge.com 2. If you haven't got a Pink Coat Club pin, patch or necklace, are you even a sewist? Join the club with this slogan pin and wear your fave hobby on your (me-made) lapel. £7.50, www.pinkcoatclub.com 3. If you know a new stitcher whose kit is in need of a boost, get them a pair of artisan snips; they're made by Hasegawa Cutlery, renowned for their craftsmanship. www.handsonworkshop.com.au
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CHICBOUTIQUE
As if the Eiffel Tower, Sacré-Coeur and Mona Lisa aren’t enough reasons to visit the City of Lights, Atelier Brunette has just opened its first boutique in the centre of Paris – and it’s a fabric-lover’s dream! Inside you’ll find fabrics galore to swoon over, with samples displayed on a rail to show off their beautiful drape and design, along with Atelier Brunette haberdashery and garments sewn up in the collection to inspire your projects. Visit www.atelierbrunette.com
Pinboard
50 FAT QUARTER TOYS Ame Verso (£16.99, David & Charles) This celebration of handmade toys features adorable animals, handmade baby gifts and more, all sewn up using fat quarter cuts of fabric. Included are inspiring styled photographs, diagrams and templates for over 50 toys designed by the likes of Ayda Algin of Café Nohut, Mollie Johanson of Wild Olive, author Emma Hardy and founder of #GreatBritishQuilter, Sarah Ashford. www.davidandcharles.com
NO SWEAT Cashmerette’s Tobin Sweater isn’t just any sweater: it’s got three chic variations and, as with all Cashmerette patterns, is specially designed for curves, with bodice darts and innovative cup sizing. Choose to make it with a split neck, colour-blocked sections and wide cuffs; a cowl neck and swingy high-low hem; or as a classic simple sweatshirt. See more at www.cashmerette.com
out & about
SKILLS, SHOWS & EVENTS 28 NOVEMBER 1 DECEMBER The Knitting & Stitching Show. Harrogate. A multi-craft show, with skills-boosting demos, workshops and shopping. www. theknittingandstitchingshow.com
7 DECEMBER Hat-making workshop. Like Sew Amazing, Bristol. Explore your inner milliner with the help of expert tutor Able Mabel, AKA Emily White. www.likesewamazing.com
Ha p s o p N Online store Sew Crafty has rebranded to Samantha Claridge Studio, with a new website stocked with crafty goodies. Owner Samantha sources quality fabrics from the UK, Canada, USA, Italy, Japan and China, as well as haberdashery from Hemline, Fiskars, Gütermann, Prym and more – she’ll even choose the right thread for your fabric with her thread-match service. www.samanthaclaridgestudio.com
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13 DECEMBER Machine Doodles. Sew Confident, Glasgow. Learn how to use your machine to sketch on fabric and get creative with coloured and variegated threads, appliqué and fabric dyes and paints. www.sewconfident.co.uk
UNTIL 1 MARCH 2020 An English Lady's Wardrobe. Walker Art Gallery, Liverpool. A display of over 70 outfits exploring style in Liverpool in the interwar years. www.liverpoolmuseums.org.uk
COSTUME AT THE NATIONAL THEATRE Aoife Monks (£24.99, National Theatre) Take a peek behind the scenes at what goes into designing and creating the unique costumes seen in National Theatre productions. Over 10,000 costumes are produced every year by the in-house team, and this beautiful book takes you through the creative process, from crafting costumes to how they are used once they're ready for the stage. shop.nationaltheatre.org.uk
QUILTS FROM TILDA’S STUDIO Tone Finnanger (£16.99, David & Charles) Make heirloom quilts in the whimsical style of Tilda, aka Tone Finnanger, with this book of 14 designs in charming Tilda prints, many with matching pillows for maximum cosiness. Motifs include teapots, fruit, flowers and more, with templates and diagrams to help you sew up your own cosy versions. www.davidandcharles.com
SARAH PAYNE’S QUILT SCHOOL Sarah Payne (£12.99, Search Press) Fancy trying patchwork, but not sure where to start? Learn how from expert Sarah Payne and this practical introduction to patchwork and quilting. Each chapter covers different projects, including quilts, cushions, tote bags and table runners, and along the way you’ll learn techniques such as appliqué, piecing blocks and curved piecing, plus handy tips on tacking, layering, quilting and binding. www.searchpress.com
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bundle worth
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Win an exclusive bundle of Miffy fabrics, wadding and threads worth over £120 ho’s the cutest bunny in the world? Why, it’s Miffy of course! She’s back with the ‘Miffy Holiday’ fabric collection featuring five brand new designs from The Craft Cotton company (www.craftcotton.com). We’ve teamed-up with them to bring you this stunning quilt kit worth £123 as a prize this month. One lucky reader will win 2 Miffy Holiday Fat Quarter packs, a 120x120cm piece of Heritage Cotton Wadding, a 24-piece matching thread box and a 2m length of Miffy Holiday fabric for the backing – just what you need to sew a beautiful heirloom quilt just in time for Christmas. These gorgeous designs are all 100% cotton and available to buy in metres (from £8) or in Fat Quarter packs (from £7). Produced to Oeko-tex standard and free from all harmful substances, these vibrant fabrics are perfect for any sewing project. Buy the fabrics online at www.createandcraft.com/gb/, find lots of project ideas to sew with them at www.craftcottonblog.co.uk, and shop all things Miffy at www.miffyshop.co.uk. Enter this competition online at www.simplysewingmag.com today!
win: patterns, tools and bag!
prize WORTH
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Win sewing patterns, fabrics, scissors set, hobby bag and shears worth £150 ith the season of goodwill (almost) upon us, the team at Simply Sewing HQ have put together this gorgeous bundle of sewing tools, patterns and accessories for one lucky reader to win – worth £150. We’ve chosen three of our favourite Closet Case dressmaking patterns (the Fiore skirt, Cielo top and dress, and Pietra pants and short set) to set you up with some sewing plans for the coming months. Plus, there’s a pack of 7 Fat Quarters from Tula Pink’s Zuma fabric range and a 3m length of stunning 100% cotton from Seasalt. Not to mention a pair of Hemline sewing scissors and pinking shears to add to your stash ...and a super-handy craft hobby bag from Groves to keep it all in. Has this got you feeling all inspired? Fancy a little sewing pick-me-up? To be in with a chance of winning this bundle of sewing treats, enter online at www.simplysewingmag.com
See www.simplysewingmag.com to enter! (UK only, see competition rules on p6.)
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Christmas makes
MERRY MAKING Stock up on festive prints in a classic Christmas palette and sew these merry-and-bright makes. Designers: JESSICA ENTWISTLE Styling: LISA JONES Photography: PHILLIP SOWELS
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Ad E Ca E d How many sleeps until Christmas? We'll be counting down to the big day the eco-friendly way with a personalised advent calendar we can bring out every year to fill up with mini treats. We're hoping for haberdashery goodies in ours...
Ho L Ha G n It's time to deck the halls with boughs of holly – handmade holly, that is! This holly hanging is so simple to sew, we might just have to make one one for every door in the house. You could easily scale it down for a matching tree decoration, too.
Christmas makes
G t Sa K Nothing says 'Santa's been!' like waking up to a gift sack filled to the brim with pressies on Christmas morning – and it's even better when it's got your initial on it! Luckily, these oversized star-appliqué sacks don't take long to sew up, so everyone in the family can have one (only if they've been good this year, of course).
St C I s Get the kids involved in picking out their favourite fabrics for these cute mini stockings. They're the perfect size for smaller presents (we'll save the bigger ones for those jumbo gift sacks!), and for using up your festiveprint scraps. For extra stash-busting points, add an appliqué initial to personalise each one.
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Christmas makes
Te D Be R We still remember the excitement of unwrapping a new plushie toy, so pass on the joy with a classic handmade teddy. Finish with a bow, a friendly embroidered smile and a hand-stitched initial ready for the lucky recipient.
Wr A Swap fronds for fabrics and make this new twist on a traditional wreath. Not as tricky to sew as it might look, it's created with fabric tubes plaited together and decorated with a smaller version of the holly hanging on p18 – easy! Just be sure to display it on an interior door to keep it in good shape for many Christmasses to come.
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advent calendar YOU WILL NEED Q Fabric A: 55x115cm (22x45in) Q Fabric B: 20x50cm (8x20in) Q Fabric C: 25x115cm (10x45in) Q Fabric D: 25x35cm (10x14in) Q Fabric E: 25x35cm (10x14in) Q Fabric F: 25x35cm (10x14in) Q Fabric G: 30x30cm (13x13in) Q Wadding: 50x51cm (20x21in) Q Eyelet: 8mm ( ⁄ in) Q Bondaweb 30x45cm (13x18in) Q Matching thread Q Basic sewing kit FABRICS USED Fabrics are from the Merry Christmas collection by Makower. For stockists visit www.makoweruk.com Vlieseline Bondaweb from Lady Sew and Sew. www.ladysewandsew.co.uk NOTES Q Use a 1.5cm ( ⁄ in) seam allowance. Q Download the templates from www.simplysewingmag.com/ downloads Q Finished size: 50x50cm (20x20in).
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CUTTING OUT The roof (Fabric B) is not cut out at this stage. Step one From Fabric A cut: House: 36x50cm (14 ⁄ x19 in). Backing: 51x50cm (20 ⁄ x19 in). Casing strips: two 12x50cm (4 x19 in). Step two From Fabric C cut: Binding: two strips, 4x115cm (1 ⁄ x45in) each. Step three From Fabrics C, D, E and F cut: Pockets: cut twelve 8x8cm (3 ⁄ x3 ⁄ in) squares of each of the four prints. Step four From Fabric E and F cut: Holly and berry appliqué: transfer the holly and berry templates to the paper side of the Bondaweb. Press the Bondaweb onto the wrong side (WS) of the fabrics and cut out. Step five From Fabric G cut: Number appliqué: transfer the numbers onto the paper side of the Bondaweb, ensuring you draw a mirror image of the numbers. Press the Bondaweb onto the fabric WS and cut out the numbers. Name(s) appliqué: Use the templates provided to create a personalised name(s) if you wish.
CREATING THE POCKETS Step one Use the advent calendar template to work out where you would like the 24 fabric pockets to go and lay them out on your work surface accordingly. Work out where you would
like the numbers to go in relation to these – either randomly as we have, or in numerical order. Take a photo and make a note for reference. Step two Transfer each number template onto the right side (RS) of six pieces of each of the four pocket prints. Peel off the Bondaweb backing and press each number onto the pocket fronts. 01 Step three Topstitch the numbers to secure. 02 Step four Place a matching corresponding pocket piece RS facing with the appliquéd front. Sew all the way around, leaving a turning gap along the bottom edge. Trim off excess fabric, clip corners and turn RS out. Press, tucking the turning gap inside. Topstitch along the top edge. Step five Repeat to make all 24 pockets.
CREATING THE ROOF DETAIL Step one Work out where you would like the personalised name(s) and holly/berry appliqué to go on the Fabric B roof section. Ours is central with the names being 4cm (1 ⁄ in) above the bottom edge. Draw diagonal roof lines from the central point along the top long edge down to 1cm ( ⁄ in) above the bottom long edge for each short side. Step two Topstitch the appliqué to the roof top. 03
JOINING THE ROOF TO THE MAIN HOUSE Step one Transfer the main house template onto the WS of the Fabric A house piece. Place the
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pockets on top to check their positions. Step two Pin and then sew each pocket onto the house, topstitching them in place. 04 Step three Pin the roof piece RS together along the top edge of the main house piece. Sew together and press the seam open.
MAKING THE BACK AND DOWEL CASINGS Step one Fold over the two short edges of one casing piece by 1cm ( ⁄ in) WS together and press. Fold over by 1cm ( ⁄ in) again and press. Topstitch to finish. Repeat for the second casing strip. Step two Fold each casing strip in half WS together along its length and press. Mark the centre point across the short width of each strip. Step three Take the Fabric A backing piece and draw a horizontal line across its 50cm (20 ⁄ in) width, 7cm (2 in) up from the top edge. Draw a second horizontal line 18cm (7in) down from the top edge. Draw a third line, this time vertically across the centre of the 51cm (20 ⁄ in) length. Step four Lay a casing strip flat above one of the marked lines so that the raw edges line up with the horizontal line and the central points match. Step five Pin then sew the strip to the fabric with a 5cm (2in) seam allowance – you are sewing 5mm ( in) above the marked line. Press, then fold the casing strip down, over the sewing line, and press. Topstitch in place with a 1cm ( ⁄ in) seam
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allowance to create a hanging long casing strip. Step six Repeat for the second casing strip and second horizontal line. 05
ASSEMBLING THE CALENDAR Step one Place the backing RS down on the cutting mat, the wadding on top, then the advent front RS up on top, making sure all edges align. 06 Step two Use a ruler to cut away all three layers along the marked roof lines. Step three Clip the fabric/wadding sandwich together all the way around and pin along the roof seam to hold. 07 Step four Staystitch all the way around. Sew along the roof seam to hold the calendar together.
the next side. Repeat until you reach the start of the sewn-on binding, sewing 2cm ( in) or so over the folded binding edge. Trim off excess binding. Step four Press the binding strip to the back. Tuck the raw edge under by 1cm ( ⁄ in) and topstitch or slip stitch it to the back. Step five Mark the central point below the top roof point where the eyelet will go. Add the eyelet following manufacturer’s instructions. 08
FINISHING OFF Step one Sew the two binding strips together along two short edges. Press the seam open. Step two Fold over one short edge of the binding strip by 1cm ( ⁄ in) to the WS then sew it to the calendar, starting centrally along the bottom edge. Use a 1cm ( ⁄ in) seam allowance. Stop 1cm ( ⁄ in) from the first corner, sew up to the corner then take the calendar off the machine. Step three Fold the binding up at an angle where the stitching ends. Fold the binding back down along the next side. Start sewing from the top edge, sewing over the folded corner and down
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christmas makes Wreath
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YOU WILL NEED Q Fabric A: 12x115cm (5x45in), braid Q Fabric B: 30x115cm (5x45in), braid and loop cover Q Fabric C: 40x115cm (16x45in), braid and holly leaves Q Fabric D: 16x16cm (7x7in), berries Q Dark green stranded cotton Q Toy stuffing Q Ribbon: 60cm (24in) (optional) Q Erasable fabric marker Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Merry Christmas collection by Makower. For stockists visit www.makoweruk.com NOTES Q Use a 5mm ( in) seam allowance. Q Download the templates from www.simplysewingmag.com/ downloads Q Finished size: 36x36cm (14 ⁄ x14 ⁄ in).
CUTTING OUT Step one From Fabric A cut: Braid strip: one using the template. Step two From Fabric B cut: Braid strip: one using the template. Loop cover: 16x25cm (6 ⁄ x10in). Step three From Fabric C cut: Braid strip: one using the template. Holly leaves: two using the template. Step four From Fabric D cut: Berries: four using the template.
MAKING THE PLAITED TUBES Step one Fold one of the strips in half right side (RS) together along the length. Pin together, then sew along the long edge. Turn RS out. Step two Repeat for the other two strips. Step three Take one of the strips and find the centre point. Stick a pin across this centre point. Step four Stuff one half of the tube with small amounts of stuffing, pushing the stuffing firmly down to the pinned centre. Roll the tube occasionally to make sure the stuffing is even. Stop stuffing 3cm (1 in) from the end. Tuck the raw edges in by 1cm ( ⁄ in) then pin the opening closed making sure the seam is on one side edge. Step five Remove the pin then stuff the other end of the tube stopping 3cm (1 in) from the edge and pinning as before. 01 Step six Sew the two ends closed either by hand or machine. Step seven Repeat to make the other two tubes.
CREATING THE WREATH Step one Pin all three tubes together along one
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end, making sure all of the side seams are on the same side. Sew together by hand. 02 Step two Plait the three strips. When you have finished the plait, pin the three tube ends together. Bring the two ends together to make a rounded shape, check the shape and re-plait if necessary. Sew the three plait ends together at each end, making sure the side seams match. 03 Step three Sew the two plait ends together, lining up the two ends so the edges meet, then sew across. This won’t be seen so doesn’t have to be too neat, but it needs to hold the wreath shape.
out. Press the turning gap inside the holly leaf. Step three Draw a straight line along the length of the holly from bottom point to the top point. Repeat for the other side so they match. Step four Stuff the holly leaf, pushing small amounts of stuffing into the points. Close the turning gap with a ladder stitch. Step five Using four strands of dark green stranded cotton, sew a large, evenly spaced running stitch through the holly leaf along the central marked lines. Start and stop approx 1cm ( ⁄ in) in from each point.
MAKING THE BERRIES
FINISHING OFF
Step one Pin two berry pieces right side (RS) together and sew, leaving a turning gap. Mark the missing stitches on both sides using an erasable pen – this will make closing the turning gap easier. Step two Turn RS out through the turning gap. Press the turning gap fabric inside the berry. Step three Stuff the berry then close with a ladder stitch, following the marked lines. Step four Repeat to make up the second berry.
Step one Pin the loop strip wrong sides (WS) facing so the 25cm (10in) edges meet. Sew along one short edge and down the 25cm (10in) length. Clip corners and turn RS out. Press. Step two Place the loop strip over the area where the wreath ends meet so that the sewn end folds over the unsewn end at the back. 04 Step three Pin the strip in place and sew onto the wreath by hand. Push the stuffing into the gap left over the wreath sewn ends under the loop strip so it’s nicely padded out. Step four Sew the holly and berry onto the front of the wreath using invisible ladder stitches. Step five Hand stitch a hanging ribbon to the reverse if desired.
MAKING THE HOLLY LEAVES Step one Pin a pair of holly leaves together with RS facing. Sew, leaving a turning gap. Mark the turning gap as for the berries. Step two Clip the corners and points then turn RS
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gift Sack YOU WILL NEED For one sack Q Fabric A: 65x115cm (26x45in), for the sack outer Q Fabric B: 65x115cm (26x45in), for the sack lining Q Fabric C: 60x88cm (24x35in), for the top band Q Fabric D: 24x24cm (10x10in), for the appliqué Q Fabric E: scrap, for the initial Q Red cord: 150cm (59in) Q Bondaweb Q Matching thread Q Basic sewing kit FABRICS USED Fabrics are from the Merry Christmas collection by Makower. For stockists visit www.makoweruk.com NOTES Q Use a 1cm ( ⁄ in) seam allowance. Q Download the templates from www.simplysewingmag.com/ downloads Q Finished size: 50x80cm (19 x31 in).
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CUTTING OUT Step one From Fabric A cut: Sack outer: two 62x52cm (24 ⁄ x20 in). Step two From Fabric B cut: Sack lining: two 62x52cm (24 ⁄ x20 in). Step three From Fabric C cut: Top band: four 22x52cm (24 ⁄ x20 in). Step four Transfer the star and initial templates onto the paper side of the Bondaweb, making sure you draw a mirror image of the initial onto the paper side of the Bondaweb. Press the Bondaweb onto the wrong side (WS) of Fabric D and E and cut out the star and initial appliqué.
from the band seam on the right side edge of the sack front (where the appliqué is). Make the same line on the back piece so the marks line up – this is where the cord channel will be and where the cord will exit the sack. Step two Pin the outer pieces together RS facing and sew all the way around, stopping at the 3cm (1 in) marked point and starting again at the band seam – so you have a 3cm (1 in) gap. Step three Repeat these steps with the lining pieces, leaving a turning gap long the bottom. Step four Press the side seams open.
ASSEMBLING THE SACK MAKING UP THE SACK SECTIONS Step one Take one of the sack outer pieces. Peel off the paper backing on the star and press into place centrally. Repeat for the initial. Step two Topstitch around the appliqué. Press. 01 Step three Pin a top band along the top of the sack outer with right side (RS) together. Sew and then press the seam open. 02 Step four Assemble the second sack outer and the two lining pieces in the same way with the other top band pieces.
MAKING UP THE OUTER AND LINING Step one Take the two outer pieces and place them WS together. Mark a line 3cm (1 in) down
Step one Turn the sack outer RS out and place it inside the sack lining with RS together. 03 Step two Pin then sew along the top edge. Press. Step three Turn RS out through the turning gap and press. Close the turning gap with a slip stitch. Step four Press then topstitch along the top edge. Step five Draw a horizontal line across the sack 3cm (1 in) down from the band seam for both the sack front and back. Pin along the band seam all around the sack, pinning through the outer and lining band seams. Step six Topstitch just below the pinned seam. Step seven Pin along the line then topstitch as before. This creates the drawstring channel for the cord. Thread the cord through and tie in a knot. 04
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HOLLY DECORATION YOU WILL NEED Q Fabric A: 40x80cm (16x32in), for the holly leaves Q Fabric B: 25x25cm (10x10in), for the berries Q Toy stuffing Q Dark green stranded cotton Q Ribbon: 50x1cm (20x ⁄ in) Q Erasable fabric pen Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Merry Christmas collection by Makower. For stockists visit www.makoweruk.com
CUTTING OUT Step one From Fabric A cut: Leaves: two pairs using the template. Step two From Fabric B cut: Berries: four using the template.
MAKING THE BERRIES Step one Pin two berry pieces right side (RS) together and sew, leaving a turning gap. Mark the missing stitches on both sides using an erasable pen – this will make it easier to follow the circular shape when closing the turning gap. 01 Step two Turn RS out through the turning gap. Press the turning gap fabric inside the berry. Step three Stuff the berry then close the gap with a ladder stitch, following the marked lines. Step four Repeat to make up the second berry.
MAKING THE HOLLY LEAVES NOTES Q Use a 5mm ( in) seam allowance. Q Templates include seam allowance. Q Download the templates from www.simplysewingmag.com/ downloads Q Finished size: 26x36cm (10 x14 ⁄ in).
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Step one Take a pair of holly leaves and pin them together with RS facing. Sew all the way around, pivoting at the points with the needle in the fabric. Leave a turning gap on one edge and mark the turning gap as for the berries. Step two Clip the corners and points to reduce bulk then turn RS out, carefully pushing out the seams and holly points. Press the turning gap fabric inside the holly leaf. Step three Draw a straight line along the length of
the holly from the bottom point to the top point. Repeat for the other side so they match. Step four Stuff the holly leaf, pushing small amounts of stuffing into the points. Don’t overstuff the leaf. Close the turning gap with a neat ladder stitch. Step five Using four strands of stranded cotton, sew a large running stitch through the holly leaf along the central marked lines. Start and stop approx 1cm ( ⁄ in) in from each point. 02
JOINING THE SECTIONS TOGETHER Step one Work out how you would like the hanging to look. Play around with the two leaves and the berries until you are happy with your arrangement. Take a photo for reference. Step two Tack the two leaves together so they will stay in place when sewn. 03 Step three Sew the leaves together using a neat invisible ladder stitch, sewing the underside of the top leaf to the leaf below, ensuring the stitches aren’t visible. Step four Repeat these steps with the berries to sew them to the holly leaves. Remove the tacking.
FINISHING OFF Step one Fold the ribbon into a loop, tuck the raw edges over to the inside then pin it to the reverse of the decoration. Sew using hand stitches. 04
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STOCKING YOU WILL NEED For one stocking Q Fabric A: 35x50cm (14x20in), for the outer Q Fabric B: 35x50cm (14x20in), for the lining Q Fabric C: 20x35cm (8x14in), for the cuff and loop Q Erasable fabric marker Q Matching thread Q Basic sewing kit FABRICS USED The fabrics used are from the Merry Christmas collection by Makower. For stockists visit www.makoweruk.com NOTES Q Use a 1cm ( ⁄ in) seam allowance. Q Download the templates from www.simplysewingmag.com/ downloads Q Finished size: 20x32xcm (7 ⁄ x12 ⁄ in).
CUTTING OUT Step one From Fabric A cut: Stocking outer: one pair using the template. Step two From Fabric B cut: Stocking lining: one pair using the template. Step three From Fabric C cut: Cuff: 28x20cm (11x7 ⁄ in). Loop: 4x20cm (1 ⁄ x7 ⁄ in).
CREATING THE STOCKING SECTIONS Step one Pin the stocking outer pieces right sides (RS) together. Sew all around, leaving the top edge unsewn. Clip the corners, turn RS out and press. 01 Step two Repeat for the stocking lining pieces, this time leaving a turning gap along a long edge. Step three Press the loop strip wrong sides (WS) together along the long edges. Open out then fold the two long raw edges into the central crease. Press again to create a strip 1cm ( ⁄ in) wide. Topstitch along the folded edges to finish. Step four Take the cuff piece and pin it RS together along the 20cm (8in) edges. Sew together using a 1cm ( ⁄ in) seam. Step five Press the seam open then fold the cuff in half so that WS are facing and the short raw edges meet. Press, ensuring the seam is on the fold. 02
staystitch it central to the back seam of the stocking front, making sure the raw edges of the loop and stocking raw edges meet. Step two With the outer stocking WS out place the folded cuff RS out inside the opening, pin in place, then place the stocking lining inside the cuff piece RS out so that the RS of the outer and lining are facing and the cuff is sandwiched between. Pin along the top edges, ensuring the raw edges and side seams of the three pieces are aligned. 03 Step three Sew together all the way around the top edge. 04 Step four Clip off excess then turn RS out through the turning gap in the lining. Tuck the lining inside the stocking and press along the top edge. Step five Close the turning gap in the lining.
PUTTING THE STOCKING TOGETHER Step one Fold the hanging loop into a strip then
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TEDDY BEAR YOU WILL NEED For one bear Q Fabric A: 30x50cm (12x20in), for the outer Q Fabric B: scrap, for the heart appliqué Q Fabric C: scrap, for the letter Q Toy stuffing Q Dark green stranded cotton Q Bondaweb Q Ribbon: 15mm x 50cm ( ⁄ x20in) Q Embroidery hoop (optional) Q Erasable fabric marker Q Matching thread Q Basic sewing kit
CUTTING OUT
ASSEMBLING THE BEAR
Step one From Fabric A cut: Bear outer: two 30x25cm (11 ⁄ x9 ⁄ in). Step two From Fabric B cut: Heart: transfer the heart template onto the paper side of the Bondaweb. Press the Bondaweb onto the wrong side (WS) of the fabric and then carefully cut out the heart. Step three From Fabric C cut: Letter appliqué: transfer the letter template onto the paper side of the Bondaweb (make sure you trace a mirror image of the letter). Press the Bondaweb onto the WS of the fabric and the carefully cut out the letter.
Step one Place the bear front right side (RS) facing the bear back piece and pin all the way around. Leave a turning gap along one leg. 03 Step two Sew together, making sure you don’t sew the turning gap in the leg seam closed. Press. Step three Clip into the corners, being careful not to cut through any stitches, then turn the bear RS out and tuck in the turning gap fabric. Press.
CREATING THE BEAR FRONT AND BACK FABRICS USED The fabrics used are from the Merry Christmas collection by Makower. For stockists visit www.makoweruk.com NOTES Q Use a 5mm ( in) seam allowance. Q Download the templates from www. simplysewingmag.com/downloads Q Finished size: 17x25cm (6 x9 ⁄ in).
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Step one Place a bear outer piece into the embroidery hoop and embroider the bear’s facial features using four strands of stranded cotton. 01 Step two Remove the hoop and press. Peel off the paper backing for the heart appliqué and press it onto the embroidered bear outer in the position indicated on the template. Repeat to add the initial letter in the centre of the heart. Topstitch around the heart, pivoting at the points and then topstitch through the centre of the initial. Step three Press and then cut out the bear front using the template. Cut out the bear back from the other Fabric A bear outer piece. 02
FINISHING OFF Step one Stuff the bear, making sure the stuffing is evenly spread and not lumpy in any areas. Use a blunt tool such as a knitting needle or chopstick to push the stuffing into the arms and legs. 04 Step two Before closing the turning gap, mark the stitch line with an erasable fabric marker or tailor’s chalk so that you have a guide to stitch through. Close the turning gap with a neat ladder stitch, following the stitch guide lines. Step three Clip the ends of the ribbon into points then tie a bow around the bear’s neck to finish. You might like to put a stitch through the centre of the bow so that it doesn’t come undone. You could also use a lighter to very quickly finish the ends of the ribbon to prevent fraying (the pointed shape will prevent some fraying, and the lighter method will melt the edges of the ribbon to eliminate fraying).
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CovEr
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THE PARTY Dress
Swish the night away in The Party Dress, a 1950s-inspired frock with a sweetheart neckline and pretty lace overlay detail.
TH PARTY DR SS When we think of glamour, we think of full 1950s dresses – so where better to find inspiration for party-season sewing than vintage fit-and-flare silhouettes? We've designed our own version, The Party Dress, with an elegant sweetheart neckline, princess-seam bodice, two sleeve options and a lace skirt overlay detail for a luxe finish.
2 SLEEVE VARIATIONS Choose to make sleeveless or with cap sleeves.
YOU WILL NEED Q Main fabric: Dress A: 2.4mx115cm (2 ydx45in), 2.4mx140cm (2 ydx55in) Dress B: 2.4mx115cm (2 ydx45in), 2.4mx140cm (2 ydx55in) Q Lining fabric: Dress A: 1mx115cm (1 ⁄ ydx45in), 1mx140cm (1 ⁄ ydx55in) Dress B: 1mx115cm (1 ⁄ ydx45in), 1mx140cm (1 ⁄ ydx55in) Q Non-stretch lace fabric: Dress B: 1.5mx115cm (1 ydx45in), 1.5mx140cm (1 ydx55in) Q Invisible zip: 41cm (16in) Q Matching thread Q Basic sewing kit
NOTES
VINTAGE LOOK 1950s-style dress with a sweetheart neckline and fitand-flare shape.
Q Use a 1.5cm ( ⁄ in) seam allowance throughout unless otherwise stated. Q Make a toile to check the fit before cutting out your main fabric.
FABRIC SUGGESTIONS Light to mediumweight cotton, cotton sateen, satin or crepe.
FABRICS USED Q Leopard print stretch sateen from www.likesew sewamazing.com Q Royal Blue Lace from www.minervacrafts.com Q Blue Viscose Crepe from www.sewoverit.co.uk
LEARN THE TECHNIQUE See our guide to sewing curves on page 37 to create a neat sweetheart neckline.
Use these codes at Sew Over It, Like Sew Amazing and Minerva Crafts. Use the code simplysewing10 for 10% off all fabrics at www.likesewamazing.com until 28th November 2019. Get 10% off all lace fabrics at www. minervacrafts.com using the code LACESS10 at the checkout. Offer valid until 28th November 2019. For 25% off viscose crepe fabrics, use the code VISCREPE25 at www.sewoverit. co.uk. Code valid until 1st December 2019.
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2 SKIRT OPTIONS Pattern includes instructions for adding a lace skirt overlay.
TH PARTY DR SS wear it with
There's no need for an overlay with this lace illusion print, www.minervacrafts.com
Be t Dr s Ed Leopard Cotton Sateen, www.likesewamazing.com
Mix jewel colours, metallics and sparkles for all-out glam. Keep cosy – and chic – in bottle green faux fur, £95, www. oliverbonas.com
Lapis Douppion Silk Fabric www.sewingquarter.com
Lady McElroy Boutonniere, www.sewingquarter.com
FABRIC INSPIRATION
When it comes to party dressing, more is more – so pile on the matching beads, www. oliverbonas.com
special effects A show-stopping dress calls for special fabrics – think shimmery sequins, lace, floaty crepes and statement prints. Add plas colou wit brigh gem , ww . liverbona .co
With its shiny gold finish, this mini bag makes a big impact, www. marksandspencer.com
Rose Gold All Over Sequin, www.sewingquarter.com
Throwback to the 70s in glam-rock glitter platforms, www. marksandspencer.com
Royal 100% Cotton, www.sewingquarter.com
Moorside Floral in Chalk, www.sewingquarter.com
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Layer royal-blue lace with a matching or contrast fabric, www.minervacrafts.com
Sparkl i e el ar ad for dancin a igh , w . marksandspence .co
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the of m rs o r F ake m
New special edition Our Beginner’s Guide to Crochet is the perfect companion for you to take your first steps in crochet. We’ll show you easy stitches and techniques to get you started, with fun projects for you to practise your new skills!
Just £9.99
WHAT’S INSIDE Essential tutorials and easy step-by-step instructions for both left and right handers Quick, simple patterns to help practice your skills Packed with information about each technique
ORDER YOUR COPY TODAY! ORDER ONLINE www.buysubscriptions.com/beginnerscrochet OR CALL 03330 162 138 and quote ‘Beginner’s Guide to Crochet 2019 Print 1’ *UK calls will cost the same as other standard fixed line numbers (starting 01 or 02) and are included as part of any inclusive or free minutes allowances (if offered by your phone tariff). Outside of free call packages call charges from mobile phones will cost between 3p and 55p per minute. Lines are open Mon – Fri 8am-6pm and Saturday 9am-1pm for orders only.Overseas please call +44 (0)1604 973 746. Price applies to UK orders only. EUR price £11.99, ROW price £12.99. All prices include P&P. Please allow up to 28 days for delivery.
workshop
SWEETHEART NECKLINES Sweetheart necklines give garments a timeless, vintage feel. Find out how sew this classic neckline detail with our in-depth tutorial. Our Technical Editor Roisin loves to experiment with new tools and notions; here she shares how bias tape can help to create perfect necklines.
S
pend the party season feeling like a Hollywood starlet in this issue’s cover star, The Party Dress. With its fitted waist, pretty cap sleeves and lace overlay skirt, it's all about the flattering, vintage-inspired details.
The sweetheart neckline enhances curves, giving the illusion of an hourglass silhouette. The neckline is designed to be the focus of the garment and so it’s important that it is neat and symmetrical for a polished finish. Follow this guide to sewing curves to create a professionallooking sweetheart neckline.
TOP TIPS Stitching the curve neatly is only one step in creating a sweetheart neckline. Follow these technical tips to ensure you create a neckline with a smooth finish.
When cutting out delicate lace, satin or other slippery fabrics, ensure you use sharp scissors as blunt scissors will drag the fabric as you cut. If you are struggling to achieve a neat curve, edit the neckline to create a smoother curve. A neat, shallow curve will look better than a deep heartshaped curve that is asymmetrical. Avoid unpicking; however, if you do need to, work slowly so you don’t catch the fabric in the unpicker. Use a 3mm ( ⁄ in) stitch length. Any shorter will be hard to unpick should you go wrong and any longer will be a looser stitch that could pull apart. Use a pressing cloth to avoid scorching your fabric and always press from the wrong side. Pins have the potential to snag fabric so ensure your pins are sharp before pinning your fabrics, especially fine fabrics such as satin and lace.
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YOU WILL NEED
INTERFACING THE NECKLINE
Q Vlieseline bias tape or 50cm (20in) interfacing, matching the weight of your fabric Q Calico or other inexpensive fabric similar to your chosen fabric to make a toile Q Sharp needle and pins Q Contrasting thread for tacking Q Pressing cloth Q Pressing ham (optional) Q Erasable fabric marker Q Matching thread Q Basic sewing kit
For this example, we are using Vlieseline bias tape. There is a line of stitching running through the tape which helps to stabilise the fabric and prevent stretching, the stitching line can also act as a stitch guide. If you don’t have a readymade iron-on bias tape you can make your own using iron-on interfacing. For best results use an interfacing that matches the weight of your fabric. Cut the interfacing at a 45-degree angle in strips 1.2cm ( in) wide to create approx 1m (1 ⁄ yd) worth of bias tape. 01 Step one We have not finished the edges on the sweetheart neckline, as overlocking/zigzagstitching at the tip of the point would be difficult, and unpicking needs to be avoided around this neckline as it can weaken the fabric. Step two Firstly, we need to mark the stitch line around the neckline on all pieces. As our neckline seam allowance is 1cm ( ⁄ in), we will mark a line parallel to the raw edge all around the front and back neckline – this is the stitch line. Marking the stitch line will ensure that we sew a precise neckline that is symmetrical. Use an erasable fabric marker to mark this line, but first check that the marker comes off easily by testing it on a scrap of fabric. 02 Step three Stitch the pieces together as per the instructions, first stitching the side front bodice to the bodice pieces with right side (RS) facing
PRODUCTS USED Vlieseline Formband Bias Tape from www.ladysewandsew.co.uk USING BIAS TAPE Bias tape is designed for finishing rounded and diagonal edges, so is ideal for sweetheart necklines. Diagonal edges will mean that your fabric is cut on the bias, and bias-cut edges will naturally stretch even if your fabric isn’t a stretch fabric. Bias tape will prevent the bias-cut edges and curves from stretching.
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and then stitching the assembled front pieces to their corresponding bodice back pieces at the shoulder seams. Do this for both the outer and lining pieces. 03 Step four Before joining the bodice outer and lining, press the edge tape to the raw edges of the neckline on the wrong side (WS) of the fabric. You will be pressing the tape over the stitch line. Depending on your marker/ interfacing colour, you may be able to see the stitch line through the interfacing, if you can’t, align the stitch line (if you are using Vlieseline bias tape) with the marked line. Otherwise a 12mm strip of interfacing will sit 2mm over the stitching line so remember this when stitching and position your needle accordingly. As the sweetheart neckline has steep curves you may need to snip into the edge tape slightly to get it to lay flat. Alternatively, you can cut the edge tape and continue at the correct angle with a new piece slightly overlapping the first. 04 Step five Carefully ease the edge tape around the curve – you will need to do this at your ironing board, so you are ready to press straight away. At the centre front, cut the tape away and then continue along the other side starting at the centre front. 05
STITCHING THE NECKLINE Step one With the RS of the lining and outer
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fabric together, pin around the neckline, aligning the shoulder seams and the curved neckline on each piece. 06 Step two Tack around the neckline, using a contrasting thread so that it can be unpicked easily later on. This isn’t an essential step but is recommended for particularly slippery or delicate fabrics that are likely to shift around when sewn. It will also help to improve accuracy when you are sewing. 07 Step three Stitch around the neckline with a 3mm ( ⁄ in) stitch length. It is important that your stitches aren’t too small as these will be very difficult to unpick if necessary, and too long a stitch will create a shape that isn’t as defined with stitches that could pull out easily. Start stitching at the centre back neckline and stitch all the way around, following your stitch line marking as closely as possible. Try not to bunch your fabric as sewing around a curve will naturally be tricky for your machine. If necessary, turn the handwheel so that the needle is in the down position, lift the presser foot and turn your work slightly – this is called pivoting the fabric. When you get to the sweetheart curve, sew very slowly. If your machine has a speed setting then set it to a low speed. If not, press very gently on the presser foot. Pivot the fabric around the sweetheart curve and also at the centre front point. Follow
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the stitching line all around to ensure you are creating a symmetrical shape. 08 Step four Remove the tacking stitches, taking care not to snip the fabric. Trim the neckline seam allowance down to 7mm. 09 Step five Snip into the curves so that the seam allowance lays flat. Be careful not to snip past the stitch line. You will also need to notch into the centre front point so that this will turn through and lay flat. 10
FINISHING THE NECKLINE Step one From the WS of the fabric, press the seam allowance towards the lining. You might find that you need to snip into the seam allowance a bit more to get the seam to sit flat. If so, be careful not to snip past the stitches – try to leave a couple of millimetres between your snips and the stitching. Step two Working from the WS, understitch the seam allowance in place without stretching the fabric, ensuring that the lining is not bunched up under the seam allowance at any point. Sew slowly and maintain an equal distance from the stitch line. The ideal distance is 3-4mm ( ⁄ in) from the original seam. 11 Step three Fold the lining over to the WS of the outer bodice and press the neckline from the lining side. Use a pressing cloth to ensure you don’t scorch or burn your fabric. 12
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THE trouser set
Sew a pair of staple wide-leg trousers for your capsule wardrobe, with the option to make as a jumpsuit for stylish layering.
TH trous r s t Sew not one, but four staple garments to mix and match with your me-made tops with this issue's Trouser Set by Athina Kakou (www.athinakakou. com), a wearable wide-leg design with options to make as a pair of trousers or a jumpsuit – plus a cropped culottes length for summer.
YOU WILL NEED Q Fabric: Trousers: UK sizes 4-16: 2.25mx150cm (2 ydx59in)
4 VARIATIONS Make as trousers or a jumpsuit with two length options.
UK sizes 18-28: 2.7mx150cm (3ydx59in) Jumpsuit: UK sizes 4-16: 2.6mx150cm (3ydx59in) UK sizes 18-28: 3.4mx150cm (3 ydx59in) Q Iron-on interfacing: 10x50cm (4x20in) Q Invisible zip: 20cm (9in) Q Matching thread Q Basic sewing kit
NOTES Q Use a 1.5cm ( ⁄ in) seam allowance unless otherwise stated. Q Making a toile before sewing the final garment is recommended.
NEW SKILLS Learn how to sew a waistband, pleats, pockets and zip.
FABRICS USED Q Maru from the Wild collection by Leah Duncan for Cloud9 Fabrics. For stockists visit www.hantex.co.uk Q Lady McElroy Cotton Linen Denim Grey from www.minervacrafts.com
MIX AND MATCH OPTIONS As well as the jumpsuit and trousers shown here, The Trouser Set pattern includes culotte-length trousers – just cut along the 'culotte length' line on the pattern pieces, and follow the steps for making either the trousers or jumpsuit.
Mak a ouser , or add b ic f or l e um psui .
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FLATTERING FIT Easy-to-wear wide-leg design in UK sizes 4-28.
TH trous r s t wear it with
We used this barkcloth print by Cloud9 – the perfect weight for chillier weather, www.hantex.co.uk
L e i Co O Island of the Moon, www.hantex.co.uk
Give your casual wardrobe a boost with winter brights. Mi ex re wit ha mere gol an resi ea ring , w . oliverbona .co
Torotoro, www.hantex.co.uk
Pep up a grey day with a snuggly knit in pillar-box red, www. marksandspencer.com
Needlecord Rouge, www.sewingquarter.com
FABRIC INSPIRATION
WORK to WEEKEND Whether made in colourful florals, bright corduroy or classic pinstripes, this versatile staple can be worn for work or play.
Try a new twist on your usual stripey tee with this one's glitter neckband detail, www. oliverbonas.com
Swap your neutral crossbody for a warm mustard shade, www.primark.com
Mustard Chunky Corduroy, www.likesewamazing.com
Yes, you do need another pair of black courts – these have a cute wrap strap detail, www.simplybe.co.uk
Linen-Look Denim, www.sewingquarter.com
P i wit Olympus Stripe Grey Ochre, www.sewingquarter.com
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Sew 9-to-5 chic in a smart grey pinstripe linen mix, www.sewingquarter.com
emen ouser e ult - a h el , £35, w . missself idg .co
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n Pa T r Ne D D!
ALL THAT GLITTERS Bring out the glitz, glitter and sparkle for party season with this frill faux wrap skirt by Karoline Dahrling, made using a jersey skirt from your wardrobe as a template.
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CUTTING OUT
Q Stretch fabric: 2mx140cm (2 ydx55in) Q Glitter elastic: 38mm (1 in) wide Q An elastic tube skirt or a similar fitted skirt Q Tailor's chalk Q Matching thread Q Basic sewing kit
The skirt is made up of the main panel and the ruffle at the hem. This makes it easy to adjust the length as you go along. Step one Fold the fabric in half with selvedges aligned. Fold your existing skirt in half vertically and place this on the fold of the fabric. Mark the length you would like the skirt to be and then mark 15cm (6in) up from this mark. Step two Mark a 1cm ( ⁄ in) seam allowance along the top edge of the skirt. From the hem of the skirt, measure 20cm (8in) past the side seam and make a mark. Connect this mark to the waist seam to create an A-line skirt shape. Cut out the marked skirt pieces, and repeat to cut out another skirt piece to create the front and back of the skirt. 01 Step three The front curved overlay skirt is two thirds the width of one of the main skirt pieces you have just created. Use one of the main skirt pieces as a guide. Place it on top of one layer of fabric as shown in the image with two thirds of the main skirt piece covering the fabric. Mark around the top edge of the skirt, down the side seam and along the hem. Cut along the marked line to create the front curved overlay piece. 02 Step four For the front part of the skirt you need to mark and cut a curve as shown in the image. 03
NOTES Q Use a 1cm ( ⁄ in) seam allowance unless otherwise stated. Q Pre-wash fabric before sewing to eliminate the risk of shrinkage. Q You will need more fabric to make the skirt longer, or to make a skirt larger than a UK 16. MATERIALS USED Glitter stretch fabric and elastic tape from www.stoffstil.co.uk
Step two Sew the side seam of the curved piece to one of the unsewn side seams of a main piece. Step three Finish all raw edges with an overlocker or zigzag stitch. 04
CUTTING AND SEWING THE RUFFLES Step one Cut 4m (4 yd) of fabric for the ruffles. You will need to cut these in two 2m (2 yd) lengths. The ruffles will measure 17cm (6 in) in height, this is the 15cm (6in) that was removed in the first step with 1cm ( ⁄ in) seam allowance along each long edge. 05 Step two Finish the edges of the ruffle piece with a zigzag stitch or an overlocker. Press one long edge to the wrong side (WS) by 1cm ( ⁄ in) and stitch in place, close to the finished raw edge. 06
ATTACHING THE RUFFLES Step one Place the edge of the ruffle piece RS together with the edge of the skirt, starting at the skirt waist. Gather the fabric of the ruffle piece only as you pin it in place. Try to gather the fabric equally all the way along the curve and the bottom edge of the skirt. 07 Step two Carefully stitch the gathered ruffle piece into place. 08
ADDING THE ELASTIC WAISTBAND SEWING THE SKIRT PANELS Step one With right sides (RS) facing, sew the two main skirt pieces together along one side seam.
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Step one Measure the elastic tape around your waist, ensuring it can go over your hips easily. Cut your desired length with 1cm ( ⁄ in) seam
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allowance at each end and stitch the ends together with RS facing. 09 Step two Lay the skirt RS out so that the side seams are straight on each side with the curved piece at the front. This front piece with the curved edges and ruffles will not quite reach the side seam. Pin it in place along the waist edge. Step three Place the elastic waistband around the top of the skirt with the RS of the elastic facing the RS of the skirt. Pin it in place all the way around. 10 Step four Using a zigzag stitch or another stretch stitch, stitch the elastic to the skirt all the way around, stretching it evenly. 11 Step five If you would like, you can then finish the raw edge of the fabric along the waist edge, making sure not to catch the elastic in the blade if you do this with an overlocker. 12
TIP: g fabrics to
stin a r t n o ffle, c u r d Use n a kirt s e h or t d e l o g mak d n ck a a l b s a r, for e v such l i s d d an even gol block design. – a colour Subscribe at www.simplysewingmag.com
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MY SEWING WORLD By Karoline Hughes Karoline Hughes, aka Skandimama, hopes to help everyone find their sewing mojo with her simple projects. hen I was at design school, I learned the skills of pattern-making the correct tailor's way, but I still always came back to my own method of using clothes I already had as pattern pieces – it has always been a fun and quick way to work for me. I don't think I've ever stopped sewing clothes, and mostly I use this fast and easy method to make them. I love that I can have a new piece of clothing ready to wear in a jiffy. I want to inspire and make it possible for everybody to make their own clothes – even those who think it is too difficult and time-consuming. I have been making my own clothes since my nan gave me her old Bernina sewing machine when I was 13. It was love at first sight with that machine and then my mum's fabric stash, old tablecloths, thrift-shop bargains, or whatever I could find to sew or alter. I made new clothes by tracing the clothes I had onto fabric and changing their designs a bit every time. I remember sitting up all night to make a new dress or trousers for school. The sewing machine made so much noise, but luckily I had a very tolerant family who could still sleep through it!
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See more of my Instagram @ creative projects on karoline.ska ndimama
"Making nice things for yourself or others is such a gift."
CREATIVITY FOR LIFE I worked in the fashion industry for a short while after graduating design school, but creativity did not blossom as much as I hoped in that area, and it just wasn't what I dreamt it would be. But I cannot help being creative on the side. Now I teach communication and culture studies at university and in my spare time I love being creative and working on projects. A year ago I published a sewing book in Danish with a no-pattern approach to sewing. It has made me even more focussed on sewing and improving the instructions so it is as easy as possible for beginners to start sewing. And seeing my book in bookshops and at the library is the absolute best! I meet so many people who like the clothes I make, but who in no way think they can do it. And I am sure they can. Making nice things for yourself or others is such a gift, and I wish to help more people achieve that. There are so many easy projects to start with, and I've done lots of workshops helping beginners to find their sewing mojo. I love the happiness it brings them to unlock that creativity and make something they're really proud of.
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great e r a s e v r a c s d n a Thrifted fabrics skirts. r e m m u s d e r e ti for making
to "Finding the courage give it a go is what I want to help people with."
I don't just love making clothes! I also enjoy sewing lots of new pillows for our home (my husband is sure they will one day take over the house!), and bags too.
It is also a great way to hang out with friends. I meet up with some of my girlfriends once a month and we craft, chat and drink coffee. For my last birthday I invited my friends to make clothes with me with styles from my book. It was lots of fun! Five years ago I was diagnosed with cancer, and in that hard time and while recovering I found out how healing it can be to work with your hands. Whether it was sewing, drawing or writing, being creative was a way to cope, think happy thoughts and just feel satisfied with the joy of both the process and the outcome. In the hard times that have been in my life ever since, making has been an outlet and a way to create energy as well as a safe space. It is a great way to spend time with my daughters too. I'm blessed that they're creative. Finding the courage to just give it a go is what I want to help people with. It is such a pleasure to make the DIYs for Simply Sewing (see my skirt on p44) and I hope it will inspire those who are waiting to begin their sewing journey. I love the process of thinking out and planning a new design, or figuring out how I can make it as simple as possible but still be true to the original idea. I know it's easy to feel overwhelmed by the measuring, tracing and cutting of pattern pieces. My simple garment-tracing method is more intuitive. At the moment I'm working on another book with even more designs – fuss-free and without patterns. It will be the perfect intro for new sewists, or simply inspiration for anyone that wants to try an alternative to paper patterns. See more at www.skandimama.com
Keeping me inspired...
Sew little pur se your scraps a s to use up nd leftover trim s.
I enjo� g��n to � vouri rif h� an findin e clo e , duve c� er or bleclo t ak e f o . Thi su me � daugh er an I av b e ivin � �ere dresse ad pcycle carve . Secondhan bri � als grea wa� to � le � chea an sus inabl �a�. I � m� en � rif ho �he y� po in g e cur in or bleclot� �t� c�� e prin . I f el ik uc� gif . P int ak a��, especia�l� � e� av t��.
Twinning is winning! I love making matching outfits for my family.
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keep in check Pick a soft wool in a heritage check for this classic stole, with patch pockets for added cosiness. Portia Lawrie shows you how.
n Pa T r Ne D D!
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CUTTING OUT
Q Mediumweight wool fabric: 2mx150cm (2 ydx59in) Q Bias binding: 5m (5 in) Q Matching thread Q Basic sewing kit
Step one From the wool fabric cut: Stole: 70x200cm (28x80in). Fold the stole half along the length and round off the corners. 01 Pockets: 20x28cm (8x11in) each.
FABRICS USED Pure English wool from Minerva Crafts. Visit www.minervacrafts.com
PREPARING THE PIECES Step one Finish all raw edges of the pocket rectangles using an overlocker or zigzag stitch. Step two Using a long stitch length, sew temporary stitching lines 5mm ( in) in from the short sides and long bottom edges, and 3cm (1 in) down from the long top edge. 02
ATTACHING THE POCKETS Step one Press all edges over to the wrong side (WS) along the temporary stitching lines. Topstitch along the finished top edges to secure the top of the pockets. Position the pockets at opposite ends of the same (long) edge of the stole rectangle, with the pocket openings facing towards the centre and allowing at least 2.5cm (1in) between the pocket edges and the edge of the stole itself. Step two Topstitch the pockets in place close to the folded edge. Remove the machine tacking. 03 Step three Sew a small triangle either side of the pocket opening to reinforce.
BINDING THE STOLE Step one With right sides (RS) together, join two of
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the short ends of the bias tape together and press the seams open and flat. Step two Starting at the centre back on the opposite edge to the edge with the pockets, pin the bias binding RS together with the stole around the entire circumference. Stitch in place along the first crease of the bias tape (the crease closest to the edge of the fabric). Join the two ends at the centre back where they meet. 04 Step three Clip into the curves and trim the seam allowance down by half. 05 Step four Press the bias tape over to the WS of the stole and topstitch along the edge close to the seam previously sewn. Step five Pin the open edge of the binding in place, then neatly stitch into place by hand or by machine to finish. 06
MORE IDEAS TO TRY Line the stole in satin for a luxury feel, or a fleece fabric for added warmth – simply treat the two layers of fabric as one. Play with the pocket size and shape, or make the pockets in a contrast fabric. Use a bright bias tape to add a splash of contrasting colour. Add a closure such as a faux leather buckle or toggles, or use snap fasteners for an invisible closure.
Sew the latest looks with Trend Patterns' fashion-forward styles
One of the many things we love about making our own clothes? Being able to pick and choose from the trends and sew them our own way. Trend Patterns takes inspiration from the runways of New York, Paris, London and Milan for their edgy pattern collections, with high-end designs for us to recreate at home to suit our style (and our budget). Its three latest patterns use simple shapes in creative ways, such as the midi Square Skirt made from a square of fabric for an asymmetric drape. Find the patterns at www.trendpatterns.co.uk
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Just 9.99! The team behind Mollie Makes bring you a collection of quick-make quilting projects. From home decor ideas and unique accessories to handmade gifts and cosy blankets, our step-by-step guides make it easy to create contemporary quilts in no time!
order your copy today! Call 03330 162 138 AND QUOTE ‘MOLLIE MAKES QUILTING PRINT 1’ Online WWW.BUYSUBSCRIPTIONS.COM/MOLLIEQUILTING UK calls will cost the same as other standard fixed line numbers (starting 01 or 02) and are included as part of any inclusive or free minutes allowances (if offered by your phone tariff). Outside of free call packages call charges from mobile phones will cost between 3p and 55p per minute. Lines are open Mon to Fri 8am-6pm and Sat 9am-1pm. Overseas please call +44 (0)1604 973 746. * Price applies to UK orders only. EUR price £11.99, ROW price £12.99. All prices include P&P. Please allow up to 28 days for delivery.
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pastel plush Debbie Wainhouse's luxe suedettebacked faux fur bag is the perfect match for a me-made party frock.
faux fur bag 01
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YOU WILL NEED
MAKING THE PATTERN
Q Faux fur fabric: 50cm (20in) Q Zip: 25cm (10in) (length dependant on your desired pouch size) Q Bag chain Q 2 x metal D-rings: 2.5cm (1in) width Q Zip presser foot Q Matching thread Q Basic sewing kit
Step one The first step is to make a pattern for the bag. We used a piece of A4 paper for our template as our zip is 25cm (10in) so this makes a perfect A4-size bag. Simply round off the corners on the bottom of the paper to make a curved bag pattern; you can use a small plate or a similar as a template and trace around it with an erasable fabric marker. Adjust this technique to make a bag pattern according to your zip length. Simply cut a rectangle of paper the width of your zip and round the corners.
NOTE Q Use a 1.5cm ( ⁄ in) seam allowance unless otherwise stated.
CUTTING OUT
FABRIC USED Vintage Lilac Faux Fur Backed Suedette from www.samanthaclaridgestudio.com
Step one From the faux fur cut: Bag outer: two pieces using the template. 01 Ring tags: two 5cm (2in) in length by the width of your D-ring, plus 1cm ( ⁄ in).
INSERTING THE ZIP Step one Place the zip right side (RS) together with a bag outer piece and clip in place. 02 Step two Stitch in place using a zip foot then flip the zip up and place the other piece of fabric RS facing the zip as before and clip in place. 03 Step three Stitch the zip in place, tacking beforehand to hold everything in place while you sew if you prefer. Step four Once the zip has been inserted, stitch the zip in place from the underside so it doesn’t get in the way when you are opening and
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closing your bag. We are not lining this bag so this step helps to keep everything neat. 04
MAKING THE RING TABS Step one Take the ring tab pieces and fold 5mm ( in) to the wrong side (WS) along each long edge. Pin in place. Step two Stitch the folded edges in place with a neat hand stitch or a machine stitch. This will mean that the faux fur will not shed.
ADDING THE RING TABS Step one Feed the ring tabs through the D-rings until the D-ring is halfway and the D shape is facing upwards on the RS of the fabric. Bring the tab ends together to meet and stitch in place very close to the edge. 05 Step two Stitch the tabs to the RS on one of the bag pieces 1cm ( ⁄ in) from the top of the bag facing inwards. When you sew the bag together, they will be on the outside of the bag. 06
ASSEMBLING THE BAG Step one Fold the bag outer pieces RS together and open the zip halfway so you can turn the bag through once sewn. With the D-ring tabs tucked in, sew around the bag outer pieces. Step two Trim the ends of the zip diagonally towards the seam to reduce the bulk. Step three Turn the bag RS out. Attach the bag chain to the D-rings on each side to finish.
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a good read
WARDROBE WONDER WOMAN Seamstress, blogger, vlogger, Instagrammer, author and designer of this issue's Trouser Set pattern, Athina Kakou, shares her wardrobe-planning secrets – and why she thinks sewing should be considered a superpower. Written by Rachel Avery.
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Below: As well as a successful blog, e-book and YouTube channel, Athina has her own collection of patterns, including the chic Suzy Dress she's modelling below: “My mission is to design patterns that suit women of all ages, shapes and sizes. I believe every woman deserves to be able to create stylish clothes.”
F
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life, with a YouTube presence and a successful e-book (more about that later), there are still some things that require more traditional tools: “I do have tons of Pinterest boards where I pin things to make but I also always carry a notebook with me, where I sketch designs that come to mind,” reveals Athina. Organised is another word that many people would happily select to describe Athina. Watching her channel and reading her blogs, it’s clear that putting together her handmade wardrobe is a meticulously planned operation. Athina explains her method: "I sew in collections, which are usually colour coordinated. I like think of them as mini capsule wardrobes.” However, this clothing queen hasn’t always been so faultlessly regimented... CRAFTING A DREAM WARDROBE “I used to be just like a magpie, attracted to all of the shiny things, making every single pattern that was released and still finding myself with nothing to wear,” admits Athina. It's a familiar scenario that a lot of women find themselves in, whether they are sewists or not; we can all relate to having a wardrobe brimming with clothes and accessories and yet still feeling stumped when it comes to getting dressed in the morning. It was this exact dilemma that provided the inspiration for Athina’s super-useful e-book, Sewing Your Dream Wardrobe. “I knew other seamstresses were having the same issues as me, so I wanted to be able to share some useful advice.” The premise of the book is to organise and streamline your existing clothing collection, then craft and curate a handmade wardrobe full of beautiful pieces that you can mix and match easily – and, ultimately, learning how to make the most out of your wardrobe. This process of organising and curating can be seen as very therapeutic, and Athina believes sewing and being creative generally can have a really
All photos: www.athinakakou.com
rom nursery rhymes to impeccably good manners, there are a lot of important teachings that can be attributed to our grandparents. But Athina Kakou has her grandmother to thank for the biggest passion in her life: sewing. Sitting on her grandmother’s bed as a child, attentively watching her mend clothes for the entire family, Athina recollects feeling admiration for her grandmother's patience and talent, as well as being slightly fearful of the ‘beast’ that was her beloved sewing machine. But, thankfully, she did overcome this intimidation and has now come to master the art of crafting clothes for herself. Fast forward to 2019 and Athina is now a sewing business owner, blogger, vlogger, Instagrammer and author. Despite the many strings to Athina’s bow, which are more than sufficient enough to fill up the hours of an ordinary working week, she actually also has a full-time office job – and still somehow manages to find time to walk Malou, her ultra-playful Maltese dog. Describing herself as creative, ambitious and enthusiastic, these traits definitely shine through on Athina’s social channels. Her colourful feed on Instagram (@athinakakou) is hard not to love and she regularly takes to YouTube to share her stitching expertise. Her vlog followers tune in for her helpful advice and bubbly personality – you can find the videos yourself by searching Athina Kakou. “For seamstresses, I think videos are very helpful,” says Athina. “I can show things on camera much more accurately, such as when I am explaining a technique in a tutorial or when I want to show how a fabric moves – and that’s why I try to vlog as frequently as I possibly can.” Online, Athina finds herself even more immersed in the positive bubble that is the crafting community: “Everyone is always willing to help or leave a thoughtful comment, which is nice,” she reports. Despite embracing all aspects of modern
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a good read Athina’s top tips for planning and sewing your dream wardrobe.
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If you make sure the colours in your closet work together it will be so much easier to create a mix-and-match casual wardrobe.
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Creating moodboards is a great way to decide which direction your wardrobe should take.
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When searching through your stash, make a mental note of fabrics that go together well as this may inspire a whole outfit look.
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You need a sewing schedule to ensure you are crafting for the right season – those jumpers will be no good in the summer, will they?
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Don’t rush your sewing – making the perfect wardrobe takes time!
positive affect on mental health. Crafting is something that hasn’t escaped the magic spell of the mindfulness trend that has swept the world in recent years. Athina’s book touches upon the concept of ‘mindful sewing’ and she explains the process as being “almost like meditation.” The principle is that “instead of rushing through every process while making a garment, you really put your mind to it and enjoy every little step.” But this isn’t something that necessarily comes easy to Athina, as she’s a self-confessed ‘impatient sewer’: “I always want to hurry up to get to the final result as quickly as possible." It may not be the most enjoyable way to sew, though, as she's disovered: "I find that being more mindful is actually amazing and allows you to fully de-stress.” Having patience and taking your time when sewing are the two pieces of advice Athina would give to budding sewers who are just starting out. She sympathises about wanting to rush through the project – and, of course, show off your latest fresh-off-themachine handmade garment – but knows from many years of dressmaking experience Right and below: Athina takes a superorganised approach to planning her memade wardrobe – "I sew in collections, which are usually colour-coordinated. I like to think of them as mini capsule wardrobes” – and shares her top tips for creating your own in her handy e-book, Sewing Your Dream Wardrobe.
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that slow and steady ultimately wins the race. “I know it’s hard, because when you are learning a new hobby you want to make all the things as fast as possible, but being patient and taking your time is going to prevent you from feeling overwhelmed.” GIRL POWER Athina is a champion of sewing as a form of self-expression – one that everyone can enjoy. “I love the fact that sewing is such a creative hobby, and that it allows you to express yourself, your personal style and your creativity – which is probably the reason it appeals to everyone, no matter what your age.” Athina's own look? A self-confessed pattern addict with a love for bright colours and printed fabrics, she definitely has her own vibrant signature style. Indeed, one visit to Athina’s website will show you that she fully embodies her own brand – always modelling her gorgeous designs and keen to craft things that fit into her own life. However, Athina is also always keen to keep in mind the wider audience when she is designing her sewing patterns. She speaks passionately about her vision:
All photos: www.athinakakou.com
a good read
“My company’s mission is to design patterns that suit women of all ages, shapes and sizes. That is because I believe that every woman is beautiful and deserves to be able to create stylish clothes.” And, true to her strong work ethic and passion for her craft, Athina has put the steps in place to ensure her plan is met with exacting standards: after one of her designs has been created and the instructions have been written, it then enters the patterntesting phase – a very important step that allows Athina to perfect her designs before they go on sale, with a little help from the online sewing community: "It's one of the most essential parts of the business.” The testers who sign up are asked to make up the pattern themselves and then provide Athina with integral feedback to help her iron out any instruction oversights and potential fitting issues before the design is released. What’s even more useful is that “most of the
testers are happy to provide pictures of them wearing their finished garments, too,” and Athina expresses how grateful she is for them sharing their creations: “It’s amazing because it allows me to see the pattern on as many different women as possible.” Favouring handmade clothes over high street is an easy decision for Athina: “When I make my own clothes, I can make them to fit not only my body but also my personal style,” she says. “I can essentially turn anything I can imagine into a real garment, which I think is truly amazing. People say that sewing is a superpower and I couldn’t agree more!” And here at Simply Sewing HQ we fully champion this – in fact, can we get #sewingisasuperpower trending? Visit www.athinakakou.com for Athina's tutorials, projects and pattern collection, find her videos on YouTube, and make her trousers and jumpsuit pattern on page 40.
“I CAN ESSENTIALLY TURN ANYTHING I CAN IMAGINE INTO A GARMENT, WHICH I THINK IS TRULY AMAZING. PEOPLE SAY SEWING IS A SUPERPOWER, AND I AGREE!”
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H Athina’s simple steps to organising your fabrics and haberdashery.
1 2
Make a catalogue of your fabric swatches to remember what pieces you have.
Attend a fabric swap-shop to get rid of unwanted patterns instead of them collecting dust.
3
Wash your fabric as soon as you buy it – that way when you come to sew, it will be washed, ready and waiting.
4
Be savvy by cutting up projects in advance and storing them in zip lock bags so they are easily accessible when you feel a sewing session coming on.
5
Keep a running list of supplies you need to purchase so you’ll have it to hand when you hit the shops.
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winter warmer Add detail to a cosy plain knit with a flurry of French knots. Jennifer Cardenas Riggs shows you how.
Fr nch KNot sw at r 01
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YOU WILL NEED
FRENCH KNOTS
Q Wool sweater Q 1 x ball of spice red aran (worsted) weight yarn Q Steel yarn needle: 5cm (2in) Q Embroidery hoop: 10cm (4in) (optional) Q Embroidery hoop: 20cm (8in) (optional) Q Basic sewing kit
Choose a point on the sweater where you would like to begin. Pull your needle through, starting from the back of the hoop, so that the knot is at the back of your fabric and your needle has been pulled through to the front. Step one Hold your needle in one hand in front of your hoop and hold your thread taut in your other hand. Having the thread held firmly is important – this will help your knot stay in the place you want it to go. 01 Step two Place the needle tip in front of the thread and wrap the thread twice around it with your other hand. While you’re doing this, keep holding firmly onto your thread (you’ll find it’s easiest if you hold the thread pretty low, close to your hoop). 02 Step three Still holding the thread and needle as taut as possible, place the needle back into the fabric, trying to get as close as you can to the spot you came through but not actually putting the needle directly into the same spot. 03 Step four Pull the needle through the fabric. If you insert the needle exactly where you came out, everything you’ve done will get pulled out through the back. 04 Step five As you pull the needle through to the back, you should be left with a small French knot at the front of your embroidery, without any extra slack. 05 Step six Repeat steps the above steps as many
This is one of 30 projects in Embroidery Now by Jennifer Cardenas Riggs (£14.99, Hardie Grant). Photography © Nassima Rothacker. Go to www.hardiegrant.com
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times as you need to. Your embroidery will be thicker or thinner depending on the thickness of yarn you choose to use. With French knots this rule also applies with the number of times you wrap the yarn around the needle, the more times you wrap the larger the knot will be. 06
EMBROIDERING YOUR SWEATER Step one Place the hoop on your sweater. As you work around the sweater creating French knots, you will reposition the hoop around to hold the sweater tight. We recommend using a 20cm (8in) hoop for the body and a 10cm (4in) hoop for the sleeves. Step two Cut off a length of the yarn that is manageable for you to work with. About 25cm (10in) is a good place to start. Step three Make a double knot on one end of the yarn and pull from the inside of the sweater out. Create a French knot with your yarn, wrapping it around the needle three times before pulling back through to the inside of your sweater. Step four To finish each French knot, tie a knot and cut off the excess length of yarn. It is timeconsuming to tie off each knot individually, but it will make your French knots more secure than if they were all connected inside your sweater. Step five Repeat these steps as many times as you would like to create polka dots sporadically around your sweater and on the sleeves.
Up Y l QUICK PROJECT
just peachy Try a new way to wear the slogan T-shirt trend and rework an old tee into a tote bag with Debbie Wainhouse’s simple DIY.
TRANSFORM IT! 01
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YOU WILL NEED
CUTTING OUT
Q 2 T-shirts Q Ruler Q Matching thread Q Basic sewing kit
Step one Lay out one of the T-shirts flat and fold in half vertically. Step two Cut along the bottom, squaring it off. Step three Cut off the sides of the T-shirt, squaring off again to create a square bag. Step four Cut off the sleeves and neckline, making the neckline curve quite deep as this will be the top of the bag. 01 Step five Repeat with the second T-shirt, using the first as a template. Step six Cut the shoulder seams open on both T-shirts so you have four separate layers. Step seven Cut a square away from bottom corner of the T-shirts. We cut a 5cm (2in) square away – this will allow us to box the corners of the bag for a flat base. The bigger you make the square, the bigger the bottom of your bag.
NOTE Q Use a 1.5cm ( ⁄ in) seam allowance unless otherwise stated.
MAKING THE BAG Step one Turn the T-shirts wrong side (WS) out and stitch the sides and bottom of each T-shirt up using a zigzag or stretch stitch. Leave a 10cm (4in) turning gap in one side of one of the T-shirts. Step two Fold the bottom corners so that the seams are touching and stitch across the top. Do this for each corner on both T-shirts. 02 Step three Turn one T-shirt right side (RS) out and put it inside the other inside-out T-shirt so that the RS are together. 03 Step four Stitch around the armholes.
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Step five Stitch what was the neckline, but leaving a 5cm (2in) gap at the top of the straps – this will allow you to join the front and back handles together. 04 Step six Turn the bag through the gap in the side seam so everything is RS out and hand-stitch the gap closed. Step seven Match the front and back of the handles, placing RS of the fabric together and aligning the central seams. Sew across the top. 05 Step eight Pull the seam flat and press around the top of the bag. Topstitch all the way around using a zigzag or stretch stitch – this will stitch the opening on the handles closed. 06
MORE IDEAS TO TRY Make from jersey tops or cotton tops depending on your fabric preference. Choose T-shirts with fun designs or slogans as we have for added detail. Source the T-shirts from charity shops for an eco-friendly upcycle. Use a plain top and press or stitch an iron-on patch on the front of the bag. Use a denim or linen shirt for a sturdy, hard-wearing shopper bag.
Indulge in mindful stitching and give old jeans a new look
Venture into the back of your wardrobe, and chances are you've got a well-worn pair of jeans that are so comfy you just can't bear to throw them away. And you don't have to! Instead, get your needle, threads and scraps at the ready and give them a new lease of life, as with this borostitched pair from Clare Youngs' book, The Mindful Maker. All about slowing down and relishing the simple joys of making, inside the book are 35 creative projects to soothe your soul, from these simple jeans to macramé. And, relax...
This jeans project is from The Mindful Maker by Clare Youngs, published by CICO Books (£12.99). Photos by Joanna Henderson © CICO Books. Visit www.makeetc.com
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CLASS ACT Level up your stitching skills without leaving your home with online sewing classes tailored to time-poor sewists. Written by Melanie Macleod.
Sew Over It receives daily emails from customers "asking for extra help with specific techniques, so our online courses mean we can offer guidance all in one handy place," says founder Lisa.
Tilly and the Buttons' online courses include everything from sewing machine basics to how to make a perfectly fitted Etta Dress.
ith work, life admin and socialising taking up so much of our time, hobbies can often end up taking a back seat in our busy lives; to-do lists take precedent over passions, and we find ourselves lamenting to friends that we simply don’t have the time to indulge in evening classes, as much as we’d love to. Luckily for us, the ever-inventive sewing community has come up with a way to help us fit our love of sewing into our everyday lives: with virtual learning. Rather than using the internet to mindlessly scroll (yes, we’re all guilty of it!), there are myriad online courses to help us level up our skills without even setting foot outside the front door. Far from the tedious instructional learning videos we remember from school, these dynamic, engaging tutorials will guide you through techniques and projects at your own pace and can be picked up as you please. “The practical benefits of virtual learning are that you can access the class from home whenever you want, which is great if you don’t live near a good sewing school or have commitments that stop you attending class,” says Tilly Walnes of Tilly and the Buttons. “Online classes are available 24/7, which gives you the opportunity to fit sewing around your busy schedule,” adds Lisa Comfort of Sew Over It Stitch School. “When you’re learning to sew online you can dip in and out to suit you,” Lisa continues. “You don’t have to commit to a whole evening or
W
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a weekend class, which if you have a young family or a busy job is often not possible. Even if you have half an hour, you can just turn on the class and pick up where you left off; a seam here and there quickly adds up!” Tilly Walnes agrees: “Online courses are a perfect way to break sewing down into manageable chunks that you can pick up as and when you need them,” she says. “Our classes are available in short lessons so you can work through them at your own pace, whether that’s binge-watching in a weekend or squeezing them in over a few evenings.” Just a few minutes a day can make a real difference to your ability level, concurs
Claire-Louise Hardie's tutorials start off with simple projects such as scarves, cushions and pouches to build viewers' skills.
Main, top right and bottom right photos: www.sewoveritstitchschool.co.uk; Top left photo: www.tillyandthebuttonsworkshops.com; Inset photo: www.thethriftystitcher.co.uk
A GOOD R AD
A GOOD R AD Lisa Comfort's Stitch School is designed for sewists with busy schedules: "A seam here and there quickly adds up!"
Photo: www.sewoveritstitchschool.co.uk
Launched by Tilly Walnes, Tilly and the Buttons create patterns and books, as well as online sewing classes at www.tillyandthebuttonsworkshops.com
Claire-Louise Hardie of The Thrifty Stitcher: “Short ten-minute bursts throughout a busy week will still progress learning.”
SEWING, SIMPLIFIED For anyone finding it tricky to master difficult techniques, video classes may be the answer: “Instructions can be complicated, so viewing a tutorial simplifies the technique and means that experts can show how something is done, which can translate easier than just explaining,” explains Sewing Quarter. “Everyone learns at different paces, and
“We used to run classes in our London studio, but lots of people were disappointed that they lived too far away, couldn’t make the date or afford the fee, so we decided to make the classes more accessible by getting them into homes around the world,” explains Tilly. “Nearly my whole career has been working in education and training, and I love nothing more than designing an inspiring, easy-to-follow course, jam-packed with useful tips and tricks.” Tilly’s eye for design shines through on her online courses; no boring layouts or uninspiring aesthetics here. “I’m quite pedantic about colour-coordinating my nails with the scissors!” she admits. “Our approach is to break things down into easy-to-follow steps, without lots of jargon. Our courses will make you feel like you have a friend in the room cheering you on while offering the handiest of hints.”
Skill level: Tilly’s workshops cater for all abilities, from those just getting to grips with their sewing machine, to sewists making button-down shirts or dresses. “You can dip in at the level you are and progress, or beginners can start from scratch and gain a whole lot of skills along the way.” Try it: “Our most popular course would have to be Learn To Sew Jersey Tops,” muses Tilly. “We all love wearing practical and comfy jersey garments, so it’s no surprise people want to sew them, too! Jersey behaves differently to other beginner fabrics, so it’s nice to have a friendly helping hand when you first start working with it. This class shows you how to handle jersey on your regular sewing machine, so there’s no need to buy an overlocker if you don’t already have one.”
"Our courses will make you feel like you have a friend in the room cheering you on."
when you’re in a classroom environment with other students some people can end up feeling left behind,” says Lisa. “With online classes you’re in control, you can pause and rewind as many times as you like. If you want to watch that zip insertion a hundred times before you give it a go, you can!” “Online courses offer you a front row in class,” adds Tilly. “We film from different angles, including close-ups on the needle, so you can see exactly what is going on. Plus, you can pause, rewind and rewatch the lessons anytime you didn’t quite catch something, or need a refresher.” “Pausing when you need to pay attention or write notes, and being able to rewind if you don’t understand something, or fast forward, is a beautiful thing!” says ClaireLouise. “Some sewists also like peace and quiet when tackling something new, so it’s lovely to be able to do that from the comfort of your own home,” comments Tilly.
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Photos: www.tillyandthebuttonsworkshops.com
“You can pause, rewind and rewatch the lessons anytime you didn’t quite catch something.”
A GOOD R AD "Over the years we’ve learned what students find particularly tricky, and we’ve incorporated all that knowledge into our classes."
Sew Over It at first ran workshops at their sewing studio in London, but they were only able to reach people in the capital. “Our customers from further afield were asking us to offer our in-person classes as online classes, so we did!” explains founder Lisa. “Every day we get dozens of emails from customers asking for extra help with specific techniques for our sewing patterns, so our online courses mean we can offer guidance all in one handy place. If we don’t have a video to answer
a question we can create it!” Lisa says. “Over the years we’ve learned what students find particularly tricky, and we’ve incorporated all that knowledge into our classes, so we can give people far and wide the same friendly, encouraging Sew Over It experience that you’d get in our London classroom.” Skill level: No matter whether you’ve just picked up a needle and thread or you’re an old hand, Sew Over It will have something for you. “If you’re just starting dressmaking or want to
learn more about the particulars of fitting, we have a range of classes to suit,” confirms Lisa. Try it: The course Lisa’s students love the most is The Ultimate Guide to Sewing and Fitting Trousers, designed to guide you through sewing your first pair of trousers and really nailing the fit. “It’s something a lot of new sewists find terrifying,” admits Lisa. “The class comes with two patterns designed to help you master different techniques, from inserting pockets to fitting for your body.”
Photos: www.sewoveritstitchschool.co.uk
Launched by Lisa Comfort in May 2011, Sew Over It offers patterns, fabrics and in-person classes, as well as its Stitch School at www.sewoveritstitchschool.co.uk
"I’m passionate about teaching sewing and I knew how many people were taking it up across the globe,” says The Thrifty Stitcher, aka Claire-Louise Hardie. “Without an online course I couldn’t help someone stuck on sewing their first ever zip in Australia whilst I was based in the UK.” “Many educational videos are shot as a piece to camera, or talking directly into the camera. We use a less formal shooting style, which is used as standard on reality TV, ie. talking to a person at the side of the camera,” Claire-Louise explains. “This creates a less intense experience for the viewer. We also chose to make the shots more active, so I moved around in shot, as I would when I teach in real life. “ Skill level: The Learn to Sew with a Pro course is aimed at absolute beginners and helps to progress them with a series of easy projects. Try it: “My ultimate beginners' online course includes bonus videos on tricky elements, all the patterns, and loads of tips and tricks sprinkled throughout every stage of the course."
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"We chose to make the shots more active, so I moved around in shot, as I would when I teach in real life."
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Photos: www.thethriftystitcher.co.uk
Costume designer Claire-Louise Hardie, the first Sewing Producer on The Great British Sewing Bee, teaches online classes at www.thethriftystitcher.co.uk
reindeer games Dasher, Dancer, Prancer, Blitzen... whatever you decide to name Lucy Ward's playful reindeer, be sure to finish yours with a festive bow.
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YOU WILL NEED
CUTTING OUT
Q Brown plush fabric: 45x32cm (18x13in) Q Cream plush fabric: 23x11cm (9x5in) Q Grey plush fabric: 25x13cm (10x5in) Q Beige plush fabric: 22x8cm (9x4in) Q Black silk fabric: 12x6cm (5x3in) Q Black stranded cotton thread Q Length of ribbon Q Polyester toy filling Q Matching thread Q Basic sewing kit
Step one Download, print and cut out the reindeer templates. Step two Pin the pattern pieces onto the wrong side (WS) of the fabrics and draw around them. Cut out and mark openings, darts and positions as indicated on the templates. Step three From the brown plush fabric cut: Body back: one using the template. Body front: one using the template. Head: one pair using the template. Head gusset: one using the template. Arms: two pairs using the template. Legs: two pairs using the template. Outer ear: one pair using the template. Tail: one using the template. Step four From the cream plush fabric cut: Chest: one using the template. Inner ear: one pair using the template. Tail: one using the template. Eye detail: two using the template. Step five From the grey plush fabric cut: Antlers: two pairs using the template. Step six From the beige plush fabric cut: Back hooves: two pairs using the template. Front hooves: two pairs using the template. Step seven From the black silk fabric cut: Nose: one pair using the template.
FINISHED SIZE Approx 34cm (13 in) tall.
NOTES Q Download the templates from www. simplysewingmag.com/downloads Q Measurements are width x height. Q Arrows on the templates indicate the stretch direction. Cut pieces so that the stretch is on the width. The nap on the plush fabrics should run downwards, except for the ears which should run upwards. Q Use a 6mm ( in) seam allowance throughout. Q Fasten off at the start and end of stitching, unless otherwise indicated. Q A walking foot can be helpful when sewing plush fabric.
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MAKING THE EARS AND TAIL Step one Pin an inner and an outer ear right
sides (RS) together. Sew, then trim the seams and turn RS out. Repeat to make the other ear. Step two Fold each ear in half vertically inwards and pinch the fold to make a three-dimensional ear. Hand-stitch to hold it in place. 01 Step three Pin the tail pieces RS together and sew. Trim the seams before turning RS out. Fold the tail vertically in half, towards the cream side, and place tacking stitches to hold it together.
MAKING THE HEAD Step one With RS together, pin, tack and sew the head gusset to the top of one of the head pieces, from point A to point B. Repeat for the other side. 02 Step two Insert one ear into the slit on the side piece of the head, facing forwards towards the nose. Push it through from the WS to the RS. Pin in place and sew a couple of times to ensure the ear is properly secured. Trim the excess fabric from the seam. Repeat for the opposite side. 03 Step three To close up the head, pin the head pieces RS together. Then be sure to tack and turn the piece RS out to check that you have matched up points A and B and the seams previously sewn meet up correctly. Turn back RS together and sew down from point A to the neck opening at C and from point B to the neck opening at D. 04 Step four Trim the seams and turn RS out. Stuff the head so it becomes a rounded ball shape
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and the nose end is firm. At the neck, turn the raw edge under by 4mm and sew a running stitch through both layers of fabric, close to the edge. Use double thread so it won't break when you pull the running stitches to gather them. You can always add more stuffing if required to firm up the head just before you close it up. Step five Fasten off with a few stitches to hold the gather in place and close up the gap. 05
MAKING THE ARMS AND LEGS Step one With the RS together, pin a hoof to an arm end and then sew together with a 4mm seam allowance. 06 Step two Repeat to make the second arm and both legs. Step three Pin the arms RS together and sew, leaving the short ends open. Trim the seams, then turn each arm RS out. Step four Stuff the arms, then fold over the top edge by 4mm and leave the end open. Step five Pin the leg pieces RS together and sew, leaving a turning gap halfway down the inside of each leg. Trim the seams and turn RS out.
MAKING THE BODY Step one Lay the chest piece on the front body piece, RS together. Pin/tack the outer edge of the chest to the inner edge of the front body. 07 Step two Sew these opposing curves very slowly to ensure the fabrics don't pucker, then
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clip the curves and remove the tacking stitches. Step three Insert the tail into the slit at the back of the reindeer's body, from the WS through to the RS with the cream side facing down. Pin and sew a couple of times over. Trim the seam. Step four Place the front and back body pieces RS together. Sandwich the unstuffed legs between the layers, pointing into the body. Pin and tack, then sew in place. 08 Step five Make sure all the layers of fabric have been caught in the seam then trim the seams, remove the tacking stitches and clip the curves. Step six Turn the body RS out. Stuff it firmly, then turn under the raw edge of the fabric at the top by 4mm. With double thread, make a running stitch close to the edge through both layers of fabric, as with the head. Pull the thread taut to gather the stitches, and close up the body. Fasten off to secure the gather. Step seven Stuff both the legs firmly, then ladder stitch each opening closed. 09
ATTACHING THE ARMS AND HEAD Step one Pin the arms to each side of the body, 1.5cm ( â „ in) from the top of the body. Ladder stitch in place using a matching brown thread. Sew around a couple of times for extra security. Step two Use long pins to position the reindeer's head on its body. Ladder stitch the head to the neck. Stitch again to ensure the head is attached well. 10
MAKING THE ANTLERS Step one With RS together, pin and sew a pair of antlers. Notch, especially in the areas with deep grooves. Turn RS out and stuff firmly, using small amounts of stuffing at a time. Step two Turn the open edge under by 4mm. Position the antlers on the top of the head. Pin in place with extra long pins. Ladder stitch around the base of each antler. 11
MAKING THE NOSE AND EYES Step one Pin then sew the black nose pieces RS together, leaving a small gap for turning. Clip the curves and turn RS out. Fold over the raw edge and oversew the opening closed. Step two With black double thread, sew a running stitch all around the edge of the black disc. Begin to pull the stitches to gather them and add a tiny amount of stuffing into the cup that will form. Pull tighter until the stuffing is enclosed, then make a few stitches to tighten the ball and hold it in place. 12 Step three Position and pin the nose on the head, at the end of the tip. Stitch in place using small ladder stitches in black thread. Step four Pin the eye details onto the sides of the head. AppliquĂŠ using tiny hand overstitches. Step five In the centre of the cream eye detail use four strands of black stranded cotton to sew French knots or a small satin stitch. Step six Tie a ribbon around the reindeer's neck.
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anyone for pudding? Drizzled in cream and decorated with holly, Rebecca Reid's pudding doorstop has us craving the real thing.
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YOU WILL NEED
CUTTING OUT
Q Wool fabric: 50x150cm (20x60in) Q Pouring cream fabric: 35x70cm (14x28in) Q Holly fabric: 25x30cm (10x12in) Q Berry fabric: 10x20cm (4x8in), Q Linen tag fabric: 12x24cm (5x10in) Q Hanging loop fabric: 24x6cm (9 x2 ⁄ in) Q Filling bag: 60x40cm (24x16in) Q Polyester fibrefill Q Doorstop filling, eg: plastic pellets, sand, rice: 1kg Q Eyelet (optional for tag) Q String: 20cm (8in), for tag Q Matching thread Q Basic sewing kit
Step one Download and print and cut out the templates for the top, base, sides, pouring cream, holly, berries and tag. Step two From the wool fabric cut as follows: Sides: cut five pieces. Place the template alternate ways on the wool fabric to give variation in the print. Top: cut two. Base: cut one. Step three From the pouring cream fabric cut: Cream: cut one piece and then flip the template over to cut a second piece so it is a mirror image of the first. Mark the central cutting line on the template onto each fabric piece. Loop facing: cut two pieces, 6x6cm (2 ⁄ x2 ⁄ in). Step four From the holly fabric cut: Leaf fronts: cut three pieces using the template. Leaf backs: cut three pieces with the template flipped over so they are the mirror image. Step five From the berry fabric cut three circles using the template. Step six From the linen tag fabric cut: Tag front: one piece for the tag front and then flip it over to cut a second piece for the tag back so it is a mirror image of the first.
FABRIC USED The wool fabric is Marton Mills Exclusive Sewing Quarter Fabric Brown Ground with Blue Check. Ref: MDLS98. From www.sewingquarter.com
NOTES Q Use a 1cm ( ⁄ in) seam allowance unless otherwise stated. Q Download the templates from www. simplysewingmag.com/downloads
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MAKING THE SIDES Step one Place two side pieces right side (RS) facing and stitch together down one side. Step two Take another side piece and stitch this
RS together to one side of the joined pieces. Step three Repeat this process to sew all of the side pieces together in a row. Sew the two end pieces together to make a continuous piece. Step four Snip the seam allowances to make the seams lie flatter, taking care not to cut into the stitches, and press the seams open. 01
ADDING THE BASE Step one Fold the base circle in half and mark the edges of the fold with pins. Open out then fold in half in the other direction, matching up the pins, and mark these edges so you have marked the outer quarter points of the circle. Step two Mark the quarter points of the bottom edge of the joined sides in the same way. Step three Place the base circle RS together with the bottom edge of the sides piece and pin together at the quarter pin marks. Pin together between these pins, easing gently to fit. Step four Stitch the base to the bottom all the way around. 02 Step five Turn the pudding RS out. 03
MAKING THE HANGING LOOP Step one Fold the hanging loop fabric strip in half lengthways with RS facing then stitch together down the long edge. Step two Turn RS out then press so the seam runs down the centre back. Step three Topstitch down both long sides of
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the strip to neaten and decorate. Step four Fold the loop in half, matching the raw short ends, and tack the ends together. 04
Add texture to the holly leaves by topstitching the veins and outer edges.
ADDING THE TOP Step one Place the raw short ends of the hanging loop at the centre of the straight edge of one of the top pieces, RS together and matching raw edges. Tack into place. 05 Step two Place the other top piece RS together on top, matching all edges and sandwiching the hanging loop in between. Step three Stitch the top pieces together, backstitching across the ends of the loop a few times. This will need to hold the weight of the doorstop so it’s important that it is firmly attached. Press the seam open. Step four Mark the quarter points of the top and the top raw edges of the sides in the same way as for the base. Pin together all the way around, matching quarter points. Step five Stitch together two thirds of the way around, backstitching at either end to secure. Step six Using the longest stitch on your machine, stitch together the remainder of the edge. This will be the filling gap but stitching together at this stage is the best way to achieve a neat curve. Step seven Press the seam open all the way around then undo the long stitches for the filling gap. Tack the edges of the filling gap
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PUDDING DOORSTOP down to the wrong side (WS) on both the top and the sides to hold in place. Turn the pudding RS out.
If you're using a checked wool, cut out the pieces so the print placement is varied for added detail.
FILLING THE PUDDING Step one Fold the filling bag piece in half widthways RS facing and stitch together around the three sides, but leaving a 10cm (4in) turning gap in the centre of the top edge. Step two Turn RS out and fold the edges of the turning gap to the inside and press. Step three Half fill the bag with doorstop filling then pin the turning gap closed and machine stitch across a few times to ensure it’s secure. Step four Place the filling bag inside the doorstop through the gap at the top edge. You’ll need to ease this gently through by laying the bag flat so the filling goes in gradually. 06 Step five Arrange the filling bag so it lies at the base of the doorstop and then stuff the remainder with the polyester fibrefill. It needs to be reasonably firm but not overstretching the seams so you have a nice round pudding. Step six Slipstitch the turning gap in the top edge securely closed.
MAKING THE POURING CREAM Step one Draw a 3cm (1 in) line across the WS of the centre of the loop facing. Draw a line 5mm ( in) above it and 5mm ( in) below it then join these to make a box. Draw angled lines from the box corners to the centre line as shown. The outer box is the stitching line and the centre and angled lines are the cutting lines used to turn the piece through. 07 Step two Place this drawn fabric square RS together with one pouring cream fabric piece, matching up the 3cm (1 in) centre line with the line marked on the centre of the pouring cream fabric, and pin together. Step three Stitch together all the way around the box. Step four Carefully cut along the centre line and the angled lines. 08 Step five Post the square through the cut hole and over to the WS of the pouring cream fabric. Flatten out and press. You now have a neat hole which the hanging loop will go through. 09 Step six Repeat this process with the other piece of pouring cream fabric and the other loop facing. Step seven Pin the two pieces of pouring cream fabric RS facing, making sure the centre loop slits match up exactly. Step eight Stitch together all the way around using a 5mm ( in) seam allowance. Step nine Snip into the curves, taking care not to cut through the stitching. Step ten Turn RS out through one of the hanging loop slits. Do this slowly and carefully so you don’t distort the slit. Step eleven Topstitch all around the outer edge to neaten then around the edges of the hanging loop slits to hold them together.
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MAKING THE HOLLY Step one Place one holly leaf front and one holly leaf back RS facing and stitch all the way around using a 5mm ( in) seam allowance, leaving a turning gap on one edge. Trim the points. Step two Turn RS out then turn the edges of the turning gap to the inside and press so the seam lies right on the edge. Step three Topstitch all the way around to neaten and hold the turning gap closed and stitch veins if you want to add decoration. 10 Step four Repeat this to make another two holly leaves in the same way.
and stitch together, leaving a turning gap in the centre of one side. Step three Trim the seam allowances then turn RS out. Step four Turn the edges of the turning gap to the inside and press so the seam lies right on the edge. Step five Topstitch all the way around to neaten and hold the turning gap closed. Step six Punch a small eyelet in the angled end or snip a hole and work button hole stitch around it. Step seven Fold the string in half and loop through the hole. 11
MAKING THE BERRIES Step one Take one berry circle and, securing the starting end of the thread by oversewing, work a running stitch just inside the outer edge all the way around by hand. Step two Take a small amount of polyester fibrefill and place it in the middle then pull up the gathers to enclose it. You can adjust the filling before you secure the thread to make sure the berry is nicely filled. Step three Secure the thread by oversewing and adjust the gathers so you have a round berry. Step four Repeat to make another two berries in the same way.
MAKING THE TAG Step one Embroider a greeting or the recipient’s name or house on the tag front. Step two Place the tag front and back RS facing
DECORATING THE PUDDING Step one Thread the hanging loop through the slit in the pouring cream then smooth the cream over the pudding so it lies flat and pin. Step two Slipstitch the cream into place around the outer edges. Step three Tuck the ends of the tag string under the hanging loop slit then slipstitch the edges of the slit into place all the way around to hold the string securely in place. Step four Place the holly leaves and berries on the top of the pudding. You can space them evenly as we have done or in a group. Experiment until you are happy with their placement then pin into place. Step five Slipstitch the leaves and berries securely into place in your desired position to finish the doorstop. 12
holiday blues How to make a soft wool blanket into an heirloom stocking? Dye it frosty blue, stitch snowflake motifs and add a pom pom snowball, like Juliet Bawden.
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ASSEMBLING THE STOCKING
Q Cream-coloured wool blanket Q Dylon hand dye and salt (optional) Q White double knitting wool Q Tapestry needle Q Erasable fabric marker Q Pom pom maker Q Matching thread Q Basic sewing kit
Step one From the wool blanket cut: Stocking outer: two using the template.
Step one Pin the front and back of the stocking wrong sides together around the outer edge, 1cm ( ⁄ in) from the raw edges. Starting at the top and using a double thickness of wool, sew a blanket stitch around the top of the stocking front and then the back. Using blanket stitch, sew the sides together. 05 Step two Make a pom pom and then attach a piece of braided wool to the pom and stitch this to the corner of the stocking. 06 Step three Braid three strands of wool to make a loop. Sew to the corner of the stocking.
NOTES Q Use a 1cm ( ⁄ in) seam allowance unless otherwise stated. Q Download the template from www.simplysewingmag.com/ downloads MATERIALS USED This is a great way to recycle old woollen blankets, or you can use woollen fabric. You can use tapestry wool for the embroidery but we used a leftover ball of white double knitting wool.
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DYEING THE FABRIC If you don’t like the colour of your original wool blanket, you can dye it. We cut out our stocking shapes before dyeing them. It is worth noting that when dyeing wool, the colour will be more muted than when dyeing cotton or silk. Step one Following the instructions, mix a dye bath and add the salt. Dye the two stocking pieces. Rinse well and leave them to dry. 01
EMBROIDERING THE PATTERN Step one Transfer the pattern from the template to the stocking using the erasable fabric marker. To draw the snowflakes, simply draw a cross at right angles and then another cross between the first set of right angles. 02 Step two Using a single thread, follow the lines with a chain stitch. When you have done one line, tie off the ends of the thread and, starting from the back, sew a second line. Repeat until all the lines have been covered. 03 Step three Cut a long piece of wool and tie the ends together. Using the double thickness thread, sew lines of running stitches in between the chain stitch lines. Step four Add extra detail by sewing scattered French knots all over the stocking. 04
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Good things come in small packages, so gift little treats in Mollie Johanson's mini stocking, with a heavy chain stitch initial.
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USE THE STITCH
YOU WILL NEED
HEAVY CHAIN STITCH
Q Linen fabric: 30x30cm (12x12in) Q Quilting cotton in a solid colour: 60x60cm (24x24in) Q Quilting cotton in a festive print: 60x60cm (24x24in) Q Stranded cotton in festive shades Q Small ric rac braid: 11cm (4 â „ in) Q Matching thread Q Basic sewing kit
Step one Make a short straight stitch on the line you are stitching. Come up a short distance below the first stitch and slide your needle under the straight stitch. Go back down in the same place you came up. This makes one chain. 01 Step two Come up a short distance below the last chain. Slide your needle under the first straight stitch once more, then go back down in the same place you came up. 02 Step three Come up a short distance below the last chain. Slide your needle under both of the previous two chain stitches. Go back down in the same place you came up. Repeat this step along the entire line of heavy chain stitch. 03
NOTES Q Use a 1cm ( â „ in) seam allowance unless otherwise stated. Q Download the templates from www.simplysewingmag.com/ downloads
MAKING THE MINI STOCKING Step one Embroider a monogram letter on linen using heavy chain stitch and three strands of stranded cotton. Use the cuff template to cut two linen cuff pieces, with the monogram centered on one. Cut two cuff pieces from solid quilting cotton. Cut a regular and reversed stocking piece from floral quilting cotton and two matching pieces from solid quilting cotton. 04 Step two Sew the pieces together as shown in the images. Sew the regular solid stocking piece to the plain linen cuff with right sides (RS) together, add the solid cuff, and then attach the reversed floral stocking piece. Sew the regular floral stocking piece to a solid cuff, add the
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embroidered linen cuff with the bottom edge attached to the solid cuff, and then attach the reversed solid stocking piece. Step three Fold the ric rac braid in half and tack it along the seam where the solid stocking and linen cuff piece meets. 05 Step four Place the pieces RS together. Pin and sew around the sides with a 7mm seam allowance, leaving an opening for turning on the straight edge of the solid stocking section. Clip the curves. Turn the stock RS out and sew the opening closed. Push the lining section inside. Fold the cuff down and press the stocking to finish. 06
TEMPLATES
templates REINDEER TOY
Here are some of the templates you will need to make the projects in Simply Sewing issue 62.
PAGE 74 ACTUAL SIZE
A
A FRONT
HEA Cut D 1 pa ir
EAR
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HEAD GUSSET Cut 1 C OPE
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LEG Cut 2 pairs CHEST Cut 1 OPEN
ARM Cut 2 pairs BACK B Thank you for making these projects from Simply Sewing. The copyright for these templates belongs to the designer of the project. They work hard to create projects for you to enjoy, so please don’t re-sell or distribute their work without permission. Please do not make any part of the templates or instructions available to others through your website or a third party, or copy it multiple times without our permission. Copyright law protects creative work and unauthorised copying is illegal. We appreciate your help.
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TEMPLATES LEG HOOF Cut 2 pairs
ARM HOOF Cut 2 pairs TAIL Cut 1 brown Cut 1 cream
EYE DETAIL Cut 2
NOSE Cut 2
REINDEER TOY PAGE 74
ANT Cut 2 LER pairs
HEAVY CHAIN STITCH PAGE 85 ACTUAL SIZE
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ACTUAL SIZE
EAR Cut 2 pairs
TEMPLATES
HEAVY CHAIN STITCH PAGE 85 ACTUAL SIZE
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Add The Maria Dress, Staple Vest and kid's romper set to your pattern stash and sew a dino plushie.
Make The Rosa Dress and Betty Bowler weekend bag, plus bright laminate picnic accessories.
Sew The Shirt Dress and I AM Pattern's Flora Top, plus get a copy of our Sew Home Style book.
2 W s t Or E Visit the website: www.sewingquarter.com or call 0800 112 4433 *Calls will be charged at your local call rate, calls from mobiles may vary. All prices exclude p&p. All orders subject to availability.
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FRESH IDEAS WITH FABRIC
The guide
Pi K n Sh A These cut a zigzag edge on fabric to neaten.
ma on, useful stitches and key sewing techniques on these pages.
Ma K n p Transfer markings to your fabric, then wash them out when finished.
T e Me S r
P s
A flexible fabric tape measure will take accurate measurements.
Stainless steel pins with sharp points are best.
Sh A Keep a pair of sharp shears just for cutting out your fabric.
Fa R Cl P Use these instead of pins when sewing thicker fabrics.
Ma K n Pe C Choose a colour that shows up on your fabric.
Sm L Sc S o Use for snipping threads and cutting notches.
Ta L R’ Ch L s Chalk temporarily marks fabric and can be easily brushed away.
Th M l Wear to protect your fingers when handstitching.
S m Ri P This sharp blade cuts through and unpicks stitches.
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FRESH IDEAS WITH FABRIC
The guide He G T
HOW TO MEASURE YOURSELF ACCURATELY
B k Wa S Le G 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
H h B t/Ch S 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.
Across the back, under your arms and above the bust
B t Around the fullest part of your bust
Wa S Your natural waistline, around the slimmest part of your waist
HOW TO USE A PATTERN Hs 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.
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.
Un V R l A great multi-purpose needle which can be used for woven fabrics and has a slightly rounded point for stitching knit fabrics, too.
Sh R
Qu L i
With a sharp point, these are for sewing very fine and delicate fabrics and neat buttonholes.
This will pierce multiple layers whilst keeping straight stitches so it is ideal for patchwork and machine quilting.
Le T e B l Po N 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.
St E c Je N 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.
To S I h 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.
T n Used for parallel rows of stitching such as pintucks and hems.
ONCE YOU HAVE FINISHED stitching your seam, it’s best to press it open on the wrong side so it lies flat. Sometimes it’s better to press it to one side to reduce bulk but the pattern instructions will tell you this. Usually the seam allowances are left as they are as they help to strengthen the seam, but sometimes they cause too much bulk so they are trimmed to half their original width. If your fabric has a tendency to fray you should neaten the raw edges after you have worked the seam. There are several ways of doing this. To machine-finish them, set your sewing machine to the zigzag stitch then stitch close to the raw edge all the way along. The zigzag must be small enough to stop the fabric from fraying but large enough to enclose the bulk of the fabric. Practise a few lengths and widths before you begin. Alternatively, you can trim the raw fabric edges with a pair of pinking shears. If you have an overlocker then you can stitch, cut and finish the seams all in one process.
UK SIZE
US SIZE
FABRIC
60
8
Silks
70
10
75
11
80
12
90
14
100
16
110
18
120
20
Lightweight fabrics Medium weight fabrics Medium weight fabrics Medium weight fabrics Heavy weight fabrics Upholstery fabrics/denim Heavy canvas
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FRESH IDEAS WITH FABRIC
The guide GLOSSARY
For a full glossary of sewing terms visit www.simplysewingmag.com
Dr P A term used to describe the way a fabric hangs under its own weight. Different fabrics have different drape qualities.
E e The addition of extra fabric in a pattern to allow the finished garment to fit the body well.
Ed E Ti C A row of stitching on the very edge of a garment, usually 2-3mm ( ⁄ - ⁄ in) from the folded or seamed edge. Used to hold the fabric edge neatly in place.
Fa I This pattern piece is cut separately to stabilise and create a neat finish on the edge of a garment, such as the neckline.
f Qu R e A term used to describe a cut piece of fabric often used for patchwork projects, usually measuring 46x55cm (18x22in).
Fi I H g/Ne T N g r
Ed E
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.
Gr I /Gr I L e The lengthwise fabric grain, running parallel to the selvedge.
n 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.
No I n 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.
Ri H S e (r ) / Wr N S e (w ) 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.
S m Al O A e 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 ( ⁄ in) for dressmaking, but can vary.
Se V d 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.
St Y Ti C i A line of regular machine stitching usually worked 3mm ( ⁄ in) inside the seam line, often used to stabilise curved edges to stop them stretching out of shape.
T k/Ta K n 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.
To S It H n A line of stitching worked 5mm ( in) from the folded or seam edge. Used to hold the seam in place and as a decorative finish.
Un E St T H g A line of stitching worked through the facing and seam allowance 3mm ( ⁄ in) from the seam to stop the facing rolling to the outside of the garment. Understitching will not be visible on the outside.
La D St T 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 ( ⁄ in) long. Push the needle back in the opposite side at 4 and out at 5. Repeat this to close the edges.
S p St T 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.
W p St T 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.
Ru N n St T 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.
THE UL LADIES TIMATE SIZES 6HOODIE, -20
Ultimate hoodie Easy-sew tunic top Patchwork star tote Patternless midi skirt Gifts for gardeners Angel decoration Felt craft caddy Quick-sew stocking and more...
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PATTERNS
WORTH £17.98 ON SALE THURSDAY 28 NOV WWW.SIMPLYSEWINGMAG.COM * CONTENTS AND GIFTS MAY VARY ACCORDING TO TERRITORY. PAPER AND FABRIC GIFTS NOT AVAILABLE WITH DIGITAL EDITIONS.
my favourite thing
up the volume Great British Sewing Bee winner Juliet Uzor adds drama to her projects with a statement sleeve pattern hack. "In my early home-sewing days, this element of sewing gave me sleepless nights! In my plight to figure out how to smoothly set them in with the perfect curve, without any gathers or puckers, I mastered how they worked. Yes, I'm talking about sleeves! They're now my favourite way to transform the silhouette of any sewing pattern design. It started after I ‘hacked’ the Coco pattern by Tilly and the Buttons by adding dramatic bell sleeves lined with some wax fabric. When I embark on a new project now, the first thing I think about are the sleeves. Would they look good fitted or with extra fullness? Would they be better long, short or mid-length, and with a cuffed, elasticated or simple hemline? When a decision is made, the original
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pattern gets traced onto paper, where all the fun takes place. When manipulating sleeve patterns, ‘slash and spread’ lines start at the sleeve cap, bicep level, elbow level or the hem line. But I always ensure I keep the armhole measurements equal to that of the original sleeve pattern unless I’m working on puff sleeves. I also make sure that I try the new design on muslin fabric or old bed linen prior to cutting out my main fabric. On The Great British Sewing Bee, we dabbled in Japanese origami sewing techniques and I learnt how to make origami bamboo sleeves. It didn't make the cut as an element of my made-to-measure garment, but I hope to incorporate it into one of my future makes." See more at www.sewsonatural.com
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