Australian stitches volume 25 issue 7 2017

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AUSTRALIAN

THE FASHION MAGAZINE FOR PEOPLE WHO SEW!

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FREE g n i t t i Kn n r e t t a P

How to

Lengthen a Dress

Meet New York’s Queen of Prints

Fashion Feature One Skirt Four Ways Plus

Creative Ideas, Tips & Advice

& Much More...

FILLED WITH TIPS, TECHNIQUES AND THE LATEST SEWING TRENDS

ERNAZIONALE ALTA MODA HAVE YOU ALWAYS WANTED TO LEARN TO SEW? DO YOU SEW AND WANT TO LEARN TO MAKE YOUR OWN PATTERN? CIAM Patternmaking is you answer. We teach the Guarino method, developed in Rome andnow Europe’s premier method of patternmaking. Using his method, your sewing will have no limitations.

Learn How to Make Your Own Patterns CIAM Patternmaking gives you the skill to be able to create your own professional garmet and will teach you to build your sewing skills.

The staff at Ciam will help you to learn to create patterns that will fit you.

Short-Course Pattern-drafting For the first time, CIAM Australia is offering short courses in pattern-drafting. You will use the CIAM method to construct a pattern block to your measurements and will then learn to manipulate it to form basic wearable styles.

Different courses will be available for bodices, skirts etc.

These short courses would be ideal for people without the time to study the full CIAM course or for HSC stud to draft their own patte major work (extra class available to enable HSC adapt their pattern for m complex styles).

Example of projects you can make k : = = = = = = =

Skirts E ENQUIR R Trousers Jacket k s NOW FO S Blouse CLAeSdSspEots Limit Top/T Shirt le availab Little Black Dress And much more more‌.

Classes available in 1 $%') 1 )''#$0& 1 Tahmoor 1 ')&* 0 1 +*.'' 1 ',$ ,)& 1 & ))

CIAM Patternmaking 2/437 Burwood Road Belmore NSW 2192 Phone: (02) 9759 5904 Email: CIAMaustralia@msn.com

CIAMaustralia.com

From the Editor ĞůĐŽŵĞ ƚŽ ƚŚĞ ůĂƚĞƐƚ ŝƐƐƵĞ ŽĨ ƵƐƚƌĂůŝĂŶ ^Ɵ ƚĐŚĞƐ͊ This issue, we take a look at the latest trends and newest styles of the season. Our Fashion Editor Eddi ŚĂƐ ƉƵƚ ƚŽŐĞƚŚĞƌ Ă ƐƚƵŶŶŝŶŐ ƐĞůĞĐƟ ŽŶ ŽĨ ƉŝĞĐĞƐ ƚŚĂƚ ĂƌĞ Ă ŵƵƐƚ ĨŽƌ LJŽƵƌ ǁĂƌĚƌŽďĞ͊ tĞ ŚĂǀĞ ĂůƐŽ ŝŶĐůƵĚĞĚ ƐŽŵĞ ŐƌĞĂƚ ĂƌƟ ĐůĞƐ ĨƵůů ŽĨ ŚĞůƉĨƵů ƐĞǁŝŶŐ ĂĚǀŝĐĞ͘ >ĞĂƌŶ ŚŽǁ ƚŽ ĚŝŐŝƟ njĞ LJŽƵƌ ƐĞǁŝŶŐ ƉĂƩ ĞƌŶƐ ĂŶĚ ŚŽǁ ƚŽ ĞĂƐŝůLJ ĂůƚĞƌ ƚŚĞ ůĞŶŐƚŚ ŽĨ LJŽƵƌ ĨĂǀŽƵƌŝƚĞ ĚƌĞƐƐ͘ DĂŬĞ ƐƵƌĞ ƚŽ ĐŚĞĐŬ ŽƵƚ ŽƵƌ ŶĞǁ ƐŚŽƉƉŝŶŐ ŐƵŝĚĞ ƐĞĐƟ ŽŶƐ ʹ ǁĞ ŚĂǀĞ ĨŽƵŶĚ Ă ĨĂďƵůŽƵƐ ǀĂƌŝĞƚLJ ŽĨ ƉƌŽĚƵĐƚƐ ĂŶĚ ĨĂďƌŝĐƐ ƚŽ ŝŶƐƉŝƌĞ LJŽƵƌ ŶĞdžƚ ĐƌĞĂƟ ŽŶ͊ tĞ ůŽǀĞ ƚŽ ŚĞĂƌ ĨƌŽŵ ŽƵƌ ƌĞĂĚĞƌƐ͕ ƐŽ ŝĨ LJŽƵ ŚĂǀĞ any feedback or would like to show us photos of your

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ůĂƚĞƐƚ ĐƌĞĂƟ ŽŶ ƚŚĞŶ ƐĞŶĚ ŝƚ ŝŶ ƚŽ ƵƐ͊ zŽƵ ĐĂŶ ĞŵĂŝů ƵƐ Ăƚ ƐƟ ƚĐŚĞƐΛǁƉĐŽ͘ĐŽŵ͘ĂƵ Žƌ ƐĞŶĚ Ă ůĞƩ Ğƌ ƚŽ͗

ƵƐƚƌĂůŝĂŶ ^Ɵ ƚĐŚĞƐ PO Box 8035 'ůĞŶŵŽƌĞ WĂƌŬ E^t Ϯϳϰϱ͘ ,ĂƉƉLJ ƐĞǁŝŶŐ͊

The team at Australian Stitches

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Australian Stitches

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Contents...

Vol 25 No 7

WEAR WHAT WHEN 6

Wear What When

By Eddi Frantz

TIPS 12 24 16 52

AND IDEAS

Digitizing Paper Sewing Patterns Useful Sewing Techniques – By Karen Bigg Adjusting the Shoulder Line – By Lynn Cook A Fitting Foundation

ALTERATION CORNER 16 Dress Lengthing – By Judith Turner 60 Extending the Waistband – By Judith Turner

FASHION 20 46 64

What’s Hot Furs – By Eddi Frantz What’s Hot Kids – By Eddi Frantz Fashion Flash: One Skirt Four Ways – By Eddi Frantz

GET THE LOOK 32

Spring It Forward – By Eddi Frantz

PROFILE 70

Married to a Shearer – By Lucy Marsh

REGULAR FEATURES 3 44 38 50 56 68 78 76 79 80 82

Editor’s Letter Latest Fabric Trends Subscriptions Shopping Guide Designer Focus Free Knitting Pattern Fabric Conversion Chart Shows and Exhibitions Book Club Books Next Issue

BOOKS PAGE 80

Where What When

Nice Splice

BUTTERICK B6377 SEAMED TUNIC. MISSES’ SIZES: 6-22.

6 Australian Stitches

,8*,q4&8 , %*"(0/"- 8"*45 4&". 501 .*44&4n 4*;&4 94 9-

Where What When

On Top! The easiest, fastest way to update your look, whatever your age; Start from the top, in the season’s latest, greatest hits above the waist.

What’s the newest way to update even the simplest T-shirt top or tunic? Splice it! Not only does it create unique design interest, as you can combine several colours or prints in one item, (we particularly love the way it gives graphic black and white stripes a new spin as shown on these pages,) but they can also flatter your figure like nothing else. For example, look at the DPXM OFDLFE UVOJD CZ ,XJLqTFX on the facing page; - the diagonal stripes going across the bottom half of the garment visually minimises hips, as the contrast of horizontal stripes does in the top half. Mixing those stripes with solid colours on one half of the garment, as in the Butterick style also on the facing page, also instantly slims any shape!

Splicing or overlaying with different shades of the same colour creates another flattering FGGFDU BT JO UIF ,XJLqTFX MPPL on this page, especially if you place extreme shades of light and dark next to each other. We recommend playing around with those design lines to flatter your own form, so get creative! ,8*,q4&8 , 56-*1 07&3-": 501 .*44&4n 4*;&4 94 9- Australian Stitches

7

Where What When

Florals and other foliage are making a big impact in all sorts of prints right now and will be blooming again next spring, but if you feel too grown-up for girly sprigs or wishy-washy sprays, fear not! Florals don’t have to be styled the old-fashioned way. In fact, a bold abstract print banded in solid black and that’s contained in clean and simple shapes, such as in the wonderfully seasonless lightweight poncho by Butterick on this page, give a more sophisticated graphic edge, and easily move into Spring!

It’s also a smart way to wear a bold print that’s flattering to almost any figure. Wear such a great statement piece with sleek black separates now, (this pattern also features the sleeveless top and pull-on pants shown here,) and over white, khaki or even one of the brights picked from the print you’re wearing when the weather warms up.

Bold Prints

#655&3*$, # #"/%&% 10/$)0 4-&&7&-&44 501 "/% 16-- 0/ 1"/54 .*44&4n SIZES: 6-22.

#655&3*$, # #"/%&% 10/$)0 4-&&7&-&44 501 "/% 16-- 0/ 1"/54 MISSES’ SIZES: 6-22.

8 Australian Stitches

Where What When Now is the time to ditch the frump factor and go for a jacket that’s sleek, racy, and bomber or biker inspired. Such styles were once just ‘roughand-tumble’ casuals that were strictly reserved only for the very young, but nowadays, rich textures such as corduroy, leather or suede (or their now-just-as-rich-looking faux counterparts,) elevate their luxury and sophistication so that any age can carry them off. The new twists on these classics pare their shapes down to the very sleek essentials, snipping away any distracting detail, as seen in the two outstanding looks on this page.

Colour counts just as much as texture when it comes to upgrading that bomber or biker jacket; - rich, deep shades such as cinnamon, caramel, cognac, chocolate, wine or forest green are not only the top tones of the season, (and they will make an even bigger impact for winter

UIFZ BSF BMTP NPSF agelessly elegant than the usual black, which may look a little too tough and hard-edged.

Racy Shapes 4*.1-*$*5: .*.* ( 45:-& #*,&3 JACKET AND KNIT DRESS. MISSES’ SIZES:

70(6& 7 "//& ,-&*/ #0.#&3 +"$,&5 "/% 453&5$) ,/*5 1"/54 MISSES’ SIZES: 6 - 22

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Where What When As the shape of fashion keeps easing up, that oncestrictly tailored outer layer has definitely loosened up, in soft silhouettes and easy volumes that are not only the last word in forgiving DPNGPSU :FT 'BTIJPO IBT finally wizened up‌ if it’s not comfortable on you, then it’s not modern,) they are also more versatile than you ever thought they would be.

Case in point:- the beautiful soft topper by that master of ‘ageless style,’ Katherine Tilton for Butterick on this page, in a terrific shape with an always-flattering asymmetrical hem that can be thrown over anything slim and dark for day;- (in bold, graphic bi-colour, as shown in the inset,) or night;- (in subtly textured shimmer over glimmering metallics, as in the main image,) so it’s one worth repeating in your wardrobe over and over again in those different fabrics.

Easy Volume #655&3*$, # ,"5)&3*/& 5*-50/ +"$,&5 .*44&4n SIZES: 6-22.

10 Australian Stitches

Where What When

Another shape worth repeating: - the soft, wrap-able vest, which can be dressed up or down, as shown in the versatile Butterick look on this page. It can be belted for a more definite shape, or left loose for a more casual attitude.

#655&3*$, # -*'&45:-& 8"3%30#& 4)"8- $0--"3&% 7&45 ,/*5 501 "/% ,/*5 16-- 0/ 1"/54 .*44&4n 4*;&4 94 99-

Soft Vests

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Tips and Ideas

Digitizing Paper Sewing Patterns If you are like me, you probably have a very large library of paper patterns that you have created or collected over the years.

by Lisa A. Christman, Ph.D.

W

ith a digital or smart phone camera, you can actually turn your paper patterns into digital patterns that can be edited into new styles or altered in size to fit your measurements. You can also turn patterns that you have created by draping on a dress form into digital patterns.

Digitizing or tracing paper sewing patterns in a CAD (computeraided design) program such as Wild Ginger Software’s Cameo or PatternMaster pattern making software programs is a fairly simple Photo 1

12 Australian Stitches

process that can produce extremely accurate patterns.

Preparing to Trace a Pattern Depending upon the complexity of the curved areas on your pattern, it may be helpful to mark complex curves on a pattern prior to tracing.

Our pattern making software programs use arcs to create curves and each arc needs three points.

By placing points along the curves on the pattern as illustrated, you can more easily use the Arc (AR) command to trace the shape. To mark arcs, follow Figures 1-4.

STEP ONE Place a ruler against the two farthest points of the curved shape.

Mark a point at the deepest part of the curve (Figure 1).

STEP TWO Place the ruler against one of the farthest points of the curve and the point just marked. Place a point at the deepest part of this curve.

STEP THREE Continue placing the ruler and marking as many points as Photo 2

Tips and Ideas

Photo 3

needed to accurately define the curved shape (Figures 2 and 3).

STEP FOUR Figure 4 shows the points needed to trace the armscye shape. Two arcs can now be traced to create an extremely accurate representation of the curve.

Calibration Squares It is not possible to take photographs of patterns to their actual size and scale and so they must be re-scaled after tracing. In order to accurately re-scale the traced pattern, you will need a line of known size to compare to the same object after it has been traced.

Calibration squares are a simple way to add an object of known size to each pattern. I cut calibration squares from coloured file folders

Photo 5

Photo 4

or card stock. Squares that are 2 inches by 2 inches and 1 inch by 1inch are usually sufficient for any pattern. Cut as many as you need and place inside the perimeter of each pattern.

Taking the Digital Photograph STEP ONE Prior to photographing your patterns, iron each pattern piece flat.

STEP TWO Lay the patterns out flat on the floor or tabletop. If photographing tissue paper, lay them on top of a light coloured background such as a large sheet.

STEP THREE You can also tape them to a blank wall if desired.

STEP FOUR Make sure each pattern has a calibration square.

STEP FIVE Take the digital photograph straight on using a tripod if possible.

STEP SIX Upload the images from your camera or smart phone to your computer.

STEP SEVEN Review my previous Stitches article on Editing Digital Photographs for help in taking digital photos. You may need to lighten the photos in your graphics editing software.

NOTE: DO NOT change the scale of the photographs.

Photo 6

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Tips and Ideas

Photo 7

Tracing the Patterns STEP ONE Open the pattern file to trace in the Pattern Editor. The file format can be a BMP, JPG, or PNG type file.

STEP TWO Choose Object Settings from the Utilities menu and change the colour to Medium Blue and the line width to 3. These settings will make it easier to see the lines and arcs against the pattern image.

Photo 8

to use Snap Near Point (right mouse button) to connect the lines and arcs at each intersection.

STEP FIVE Review the Help guide on Clicking vs Snapping if you are new to using our pattern making software.

STEP SIX Use the Zoom tools to zoom into each area to place objects precisely.

STEP NINE Draw an exactly vertical line near the pattern and use the Align tool to align the grain line vertically on the screen.

STEP TEN Use Move Point, Intersect and other necessary editing tools to true the patterns where needed.

STEP THREE Use either the Point (PO) tool to place points around the pattern as shown or use the Line (LI) and Arc (AR) tools.

STEP SEVEN Be sure to trace the grain line, marking symbols, and calibration square.

Scaling the Patterns To scale the patterns accurately, select one side of the calibration square and record the length.

It will be displayed on the command line.

STEP FOUR Trace around the pattern. If using lines and arcs, be sure

STEP EIGHT Once you have completed tracing the patterns, select and delete the pattern image.

STEP ONE Select the pattern(s) to scale. They will turn red once selected.

Photo 9

14 Australian Stitches

Photo 10

Tips and Ideas

Photo 11

STEP TWO Choose Calculate and Scale from the Utilities menu.

Photo 12

STEP STHREE Enter the recorded length of one side of the calibration square as the Scale FROM. STEP FOUR Enter the original length of one side of your calibration square as the Scale TO. STEP FIVE Press the Apply button.

STEP SIX Your patterns should now be the exact scale they are on paper.

Photo 13

Finishing the Patterns STEP ONE To finish the patterns, Select All (SA) and then choose Change Object Settings from the Utilities menu.

STEP TWO Set the desired line colour and change the line width to 1 and press Apply.

STEP THREE Save the patterns.

Check out our YouTube video of this process at this link: http:// www.wildginger.com/wiki/ tracingpatterns.htm

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n o i t ra r 1 e t l A rne Co

Dress Lengthing Lengthen dress with a gathered frill in contrast fabric

By Judith Turner

T

here are a few reasons why a dress might need to be lengthened. But the main one

I come across is that of age. As we get older, our knees just don’t seem to hold the same appeal that they did when we were younger.

So a dress that is above or on the knee might not look as good as it did 5 or 10 years ago.

One of my clients had this happen and she came to me with some plain chiffon fabric to add to the bottom of a floral dress.

The colour she chose and the type of fabric were perfect for this alteration.

This is the dress before it was lengthened. (See Photo 1) My client chose the length of the frill. I did give an opinion on where I thought it would look good. In my opinion just below the knee and around the top of the calf is a flattering length.

If you do decide to use this method of lengthening a dress and using chiffon, here is what I did to create the gathered frill.

STEP ONE Unpick the existing hem allowance.

Photo 1

16 Australian Stitches

STEP TWO Unpick any overlocking at the end of the original hem allowance.

(I always unpick overlocking

because I then have less bulk.)

Always that this into account when doing your measurement calculations.

STEP THREE I cut 1 1/2 times the circumference of the hem for the frill.

STEP FOUR Use a fine needle for sewing chiffon.

I used a 60/8. Personally I prefer Schmetz needles.

Join the chiffon using a french seam rather than an overlock. It makes it harder to notice the join. (see photo 2, 3 and 4) Photo 2 – Place wrong sides together and stitch. Cut close to the stitching.

Photo 3 – Iron and turn right sides together and stitch. Do not leave a large seam allowance. The smaller the better. Photo 4 French seam completed. (See Photos 2,3 and 4) STEP FIVE Increase the stitch length to the maximum.

STEP SIX Create two rows of stitching beside each other at the top of the fabric strip. Each row should be around 5 cm (1/4 in) apart. (See Photo 5)

Alteration Corner

Photo 2

This is a great way of creating a gather if you are doing it manually. a. It gives a neater gather b. If one thread does break the other will hold it together STEP ONE Gather the fabric.

STEP TWO Quarter the fabric and pin the sides, center front and center back. Then pin in between. (See Photo 6) STEP THREE Change your stitch length back to something normal like 2.5 to 3.

STEP FOUR Stitch the frill to the dress.

STEP FIVE Remove the gathering stitch STEP SIX Overlock the edge

The final step is to hem the extension. I love a rolled hem on chiffon, and to achieve this I use my overlocker rolled hem. (See Photo 7) What I thought was great about this alteration is that the fabric choice was perfect with the floral.

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Alteration Corner

Photo 5

Trying to match fabric when doing an extension can be very difficult.

Once the frill was in place, it looked like it was always there. And that is a perfect alteration in my book.

Happy altering Judith Turner

Photo 6

Contact Details My online tutorials have over 120+ videos, plus members can download all my eBooks for free.

You can also purchase my book, Clothing Alteration Secrets Revealed.

Website:www.geniecentre.com Email: judith@geniecentre.com

Photo 7

18 Australian Stitches

Photo 8

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What's Hot ~ Fur

20 Australian Stitches

What's Hot ~ Fur

FUZZY

LOGIC True or faux, furry textures with real appeal touch everything this season ...

FASHION INDULGES IN THE ‘FEEL-GOOD’ FACTOR THIS WINTER, WITH FUZZY, FURRY TEXTURES ON EVERYTHING. STARTING HERE, SIMPLICITY’S 8218 EASY - TO - SEW JACKET WITH SHAWL COLLAR, LARGE PATCH POCKETS, ROUND HEMLINE, ASYMMETRIC CLOSURE AND BLANKET STITCHING… A GREAT CASUAL LOOK TO WEAR OVER ANYTHING! IT CAN BE MADE MID-THIGH LENGTH OR JUST BELOW THE HIP. PATTERN ALSO INCLUDES ASYMMETRIC FUR VEST. MISSES’ SIZES: XS(6-8) - XL (22-24)

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What's Hot ~ Fur

A LONGLINE GILET VEST, WRAP OR ‘DONUT’ SCARF ARE EASY WAYS TO ADD FUR TO YOUR LOOK: (MAIN IMAGE:) SIMPLICITY 8219 VEST. MISSES’ SIZES: XS(6-8) - XL (22-24). WATCH THE VIDEO ON THIS STYLE NUMBER’S PAGE FOR MORE HANDY SEWING TIPS AT SIMPLICITY.COM (INSETS:) VOGUE V9234 ‘TAFA’ FUR ACCENTED WRAPS, SCARVES AND GLOVES.

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What's Hot ~ Fur SIMPLICITY8267 BLANKET AND FAUX FUR/FLEECE BACKED CUSHIONS.

T

he easiest way to incorporate furry textures into your look, opposite: - In a luxurious wrap (contrasted with woven wool), a ‘donut ring’ scarf or a long-line gilet, the most flattering layering piece around this season.

Fashion’s new fuzzy logic doesn’t just stop at your wardrobe. Those cosy, cuddly furry textures are perfectly at home, thrown over your couch, your bed, or anywhere else you love to snuggle up!… Look for cool, sophisticated neutral shades in natural browns, camels, tans and greys, and a differing range of lush, thick-pile textures, (such as in the patterned and textured, shaved-pile throw next to those longer-pile fur cushions,) and then contrast all that furry fabulousness with smooth textured leathers or equally smooth buttery suede. Afraid of faking it while making it? Don’t be, as modern technology makes today’s great imposters look (and most importantly, feel!) just like the real deal, for a guilt – and fuss! – free indulging of the senses.

TECHNICAL TIPS Most faux furs (like real fur) have a

specific direction to the nap. Mark it on the wrong side of the backing with an arrow, so it’s going in the same direction on all of the pieces when you cut. Cut only single layers. q 8IFO DVUUJOH DVU POMZ UIF CBDLJOH and not the fur pile. Use just the tips of your scissors or an artist’s scalpel or razorblade. With the wrong side facing up, slide the bottom blade of your scissors up next to the backing. Cut with short, deliberate snips, and if you feel a drag or the scissors jam, stop and try again as you’re starting to cut the fur. q 5VDL UIF GVS UP UIF JOTJEF BT ZPV pin or sew the right sides together.

A knitting needle works well as a tool. Working from the right side, you can also use a dull pencil or a crochet hook to pick stray fur hairs out of the seam. Tweezers also work, but be careful not to break the hairs. If you feel you need to reduce the bulk in your seam, use snips to clip-away the fur inside the seam allowance. q 5P NJOJNJ[F TIFEEJOH B ť OF UPPUI comb and brush used over the cut end of the fur will get the loose hairs out .

q $IPPTF UISFBE JO B DPMPVS UIBU contrasts somewhat with your fur.

It won’t show on the front because of the deep pile of the fur, but if you need to take stitches out for any reason, the contrasting colour will make it a lot easier to find the seam. q "MXBZT QSBDUJDF BOZ DVUUJOH PS sewing on a scrap piece first, to get a ‘feel’ for the process on this unusual ‘fabric’. q " TUBOEBSE QSFTTFS GPPU BOE OFFEMF are fine for most faux fur, though a denim/heavy fabric needle would be better for thicker pile fabrics.

Standard all-purpose sewing thread will also usually work fine. Use heavyduty or upholstery thread when your project has a lot of stress points. As for hand sewing, standard needles will do, though curved needles can make hiding seams easier. q :PV DBO DBSF GPS GVSSZ GBCSJDT by spot cleaning with water and fabric cleaner, then air drying.

Some are machine washable on a gentle setting. NEVER use heat when drying, as this will cause melting of the fibres. If you must use a dryer, choose the non-heat, tumble-only setting.

Australian Stitches

23

Tips and Ideas

Useful Sewing Techniques Your Brother sewing machine and its accessory feet can provide you with hours of creativity and enjoyment. But did you know there are also over 50 specialty feet available? These specialty feet make certain sewing techniques easier and give you a professional finish. I would like to share with you, my favourite specialty feet and the techniques I use.

By Karen Bigg

R

UFFLER FOOT F051 â&#x20AC;&#x201C; Probably the scariest looking foot of all but very easy to use to create a wide variety of results. This is a clip on foot but as you attach the foot insert the fork arm.

The first time you use it you will need to set up the foot for your machine. Adjust the left-right + back-front adjustment screw (refer to photo 1) so the needle is positioned in the centre of the hole. You will not need to change

this, unless you are using on a variety of machines.

There are 4 settings on the space adjustment lever: (photo 3) q 1PTJUJPO r B QMFBU FWFSZ TUJUDI r very full pleat/gather. q 1PTJUJPO B QMFBU FWFSZ TUJUDIFT medium pleating/gathering. q 1PTJUJPO r B QMFBU FWFSZ TUJUDIFT MJHIU QMFBUJOH gathering. q 0Stops the pleating and stitches regularly.

You can vary the depth of the pleat by turning the fullness adjustment screw (photo 4). Screwed in completely gives the deepest pleat. Screw out to reduce the pleat depth and give more of a gathered effect. Further variations can be made by adjusting the stitch length. q 5JQ .BLF TVSF ZPVS OFFEMF JT inserted firmly as the vibration can cause the needle to wriggle out- tighten gently with your screw driver. q 5JQ 5VSO IBOE XIFFM UPXBSE ZPV before you start stitching each

24 Australian Stitches

Tips and Ideas

Photo 1

time as the needle must be in the centre before you start stitching, or you will break needles! q 5JQ 4FX BU TMPX UP NFEJVN when ruffling.

Letâ&#x20AC;&#x2122;s experiment and see the result.

I am using strips 3â&#x20AC;? wide x 44â&#x20AC;? with the deepest pleat setting,

straight stitch needle centre, TUJUDI MFOHUI NN 8F XJMM TUJUDI on the right hand edge of the fabric, so the fabric can be any width you like.

Fabric is positioned between the guide blade and ruffling blade (refer to photo 1 and photo 5), slide fabric

in until it is under the needle.

Now letâ&#x20AC;&#x2122;s try sewing down the DFOUSF PG B TUSJQ * BN VTJOH TFUUJOH for this but any setting can be used.

1PTJUJPO GBCSJD BT JO QIPUP BOE see the result in photo 7. I created a quilt using this technique (photo 8).

Photo 2

Photo 3

Australian Stitches

25

Tips and Ideas

Photo 4

Photo 5

Setting 1

Setting 12

26 Australian Stitches

Setting 6

Compare

For a gathered effect, adjust screw to approx halfway out and position 1. (photo 9) Lighter gathering can be achieved with QPTJUJPO PS PS BEKVTUJOH UIF screw further. (photo9) Gather down both sides to give a ruched effect (photo 10). This is great to insert interesting panels into bags or clothing.

You can even ruffle one piece of fabric and stitch to a flat piece at the same time. Position the piece that stays flat under the guide blade right side up (see photo 11). Place the piece to be ruffled/gathered between the guide blade and the ruffling blade right side down (fabrics will be SJHIU TJEFT UPHFUIFS QIPUP

Stitch keeping raw edges together.

Perfect results! (Photo 13).

Tutus can be easily created by pleating/gathering tulle or organza with position 1 and deepest pleat setting (Photo 14).

NARROW HEMMER FOOT F002N This is my next favourite foot (photo 15). Use this to create a professional hem every time.

Select straight stitch and adjust needle to position 4.0mm.

Getting started can be a little tricky and may take a little time to master, but it is well worth the perseverance!

Try these 2 methods: q .FUIPE 4MJEF GBCSJD JOUP UIF curl of the foot wrong side facing VQ QIPUP -PXFS GPPU BOE stitch keeping fabric slightly GPMEFE BQQSPY NN 1IPUP 17) shows right and wrong side finished. q .FUIPE 1VMM ZPVS UISFBE UISPVHI your needle approx 5cm long (photo 18). Sew on the edge of ZPVS GBCSJD TJOHMF MBZFS BQQSPY

Tips and Ideas

cm long backstitching at the end but not at the start (photo 19).

Hold the thread tail and use this to manoeuvre fabric into the curl of the foot. Lower the foot and stitch as in method 1.

Use this foot to create a curly edge on tulle.

Insert fishing line and tulle into the curl of the foot. (The fishing line was difficult to see in the photo so I have drawn it in red for ZPV QIPUP "OZ GJTIJOH MJOF JT suitable but I use 9lb.

Select zigzag stitch length 0.4mm width 4mm.

For a curlier effect, pull tulle taut front and back as you stitch. Fishing Photo 7

Photo 8

Photo 11

Photo 9

Photo 10

Photo 12

Australian Stitches

27

Tips and Ideas

Photo 13

Photo 14 Photo 17

Photo 15

Photo 16

line feeds through the curl of the GPPU 'JOJTIFE SFTVMU QIPUP

EDGE JOINING FOOT F056 .PTU VTFGVM GPPU FWFS JOWFOUFE

Photo 18

The guide in the centre of the foot is useful for many applications.

There are so many uses but here are a few ways I use it. +PJOJOH FEHFT UPHFUIFS .Z

FYBNQMF JO QIPUP JT MBDF CVU ZPV can also use this method for fabric, batting, panels and much more.

Position pieces to be joined so that they butt up against the centre

Photo 19

Photo 20

28 Australian Stitches

Tips and Ideas

Photo 21

Photo 22

Photo 24

Photo 23

Photo 25

guide. Select the desired stitch (I used zigzag). I have used pink thread so the stitching shows but I would usually use matching thread.

'JOJTIFE FYBNQMF QIPUP

Attaching lace to fabric is also easy. Butt fabric + lace either side of the guide. Select desired stitch.

Iâ&#x20AC;&#x2122;ve used a hemming stitch in my FYBNQMF QIPUP

Edge stitching or top stitching ribbon. Position ribbon against the HVJEF QIPUP TFMFDU TUSBJHIU stitch and move needle to desired position. If you have a Dream .BDIJOF 72 PS 7. % you can activate your laser guide GPS BTTJTUBODF UPP QIPUP

'JOJTIFE SFTVMU QIPUP

Brilliant also for stitching bag

Photo 26

Photo 28

Photo 27

Photo 29

Photo 30

Australian Stitches

29

Tips and Ideas

Photo 31

Photo 32

Photo 33

Photo 34

30 Australian Stitches

Photo 35

handles or anywhere that precise stitching is needed. Place fabric BHBJOTU UIF HVJEF QIPUP BOE achieve perfect results every time QIPUP

Perfect for edge stitching bindings. Position binding against right side edge of guide, adjust the needle position and sew (Photo 30). Finished result (photo 31) with DMPTF VQ QIPUP

Tip: Be careful of corners and the raise guide slightly as needed.

Iâ&#x20AC;&#x2122;m sure you will find many uses for this foot in dressmaking, quilting and crafting.

Other useful feet that I use that need little instruction BSF UIF 30--&3 '005 ' BOE 7&35*$"- 45*5$)*/( "-*(/.&/5 '005 ' ROLLER FOOT Sew plastic, vinyl, leather & rubber backed fabrics.

7FSUJDBM 4UJUDIJ OH "MJHONFOU foot has various increments as a guide when stitching.

Please visit your local Brother Dealer or Retailer to purchase any of these fantastic feet.

McCALL PATTERN COMPANY V1545

McCall Distributed in Australia & New Zealand by McCalls Pattern Service Pty Ltd

26-28 Clements Avenue, Bankstown NSW 2200 Phone: 02 8713 1700 1 Email: mccalls@mccalls.com.au

www.mccall.com

Get The Look

SPRING It forward Has your closet got the mid-year blues? Want to feel excited about your clothes again? Put a little ‘Spring’ in your wardrobe’s step by incorporating next season’s trends, today!

Go soft on colour Soft, pretty, almost-pastel shades not only point towards the softer, lighter hues of Spring, they make a refreshing change from the same old transeasonal neutrals. They also cast a more flattering light on a wider range of complexions. Go for muted, almost ‘dusty’ tones of unexpected colours like mint, slate blue or mauve, as they are more sophisticated than those baby pinks and blues. They also mix really well with the greys and browns of winter, as well as the whites and tans of Spring and Summer … or you can play with several soft tones in one look, as in the elegant outfit by New Look on this page; - a modern update on the classic skirt suit. In fact, any type of suit gets a re-boot with such a clever mix of soft colour, pattern and texture. Now is definitely the time to mix and not match that suit! Nudetoned accessories are the perfect finishing touch.

NEW LOOK 6481 JACKET, PENCIL SKIRT AND KNIT TOP WITH 3/4 SLEEVES. MISSES’ SIZES: 8 - 20.

32 Australian Stitches

Get The Look

Try a Different Tunic We showed lots of fresh ways with tops elsewhere in this issue, but there’s one type of top in particular that holds so many opportunities for personal expression. Some may think of the tunic as a rather ‘blah’ piece that is too plain, boring and that is always the same … but it actually is a wonderful canvas for all sorts of texture and colour plays, as shown here in the stunning layered architectural design by New York designers Tom and Linda Platt for Vogue Patterns.

The use of satin-backed crepe makes the most of this design, where the shinier reverse side is used for a contrast panel to add textural interest. Deep side slits also allow for more lightness and movement. Make it in an unexpected colour like this lemon-y chartreuse, which looks really sophisticated over dark shades now and white or lighter shades later, when the weather warms up.

VOGUE AMERICAN DESIGNER V1516 TOM AND LINDA PLATT LAYERED TUNIC TOP AND PANTS. MISSES’ SIZES: 6 - 22

Australian Stitches

33

Get The Look

Show those shoulders!

Okay, it may not be warm enough to bare arms, but just a glimpse of shoulder now lightens things up and hits the ‘cold-shoulder’ trend that’s going to heat up again next spring.

The long sleeves on this Butterick style gives you needed coverage until the warm weather hits … a boldly coloured abstract print also looks forward to Spring.

BUTTERICK B6425 COLD - SHOULDER TOP AND PANTS. MISSES’ SIZES: 6 - 22

34 Australian Stitches

Get The Look

Go easy on dresses An easy throw-it-on-and-go dress is a must in every wardrobe … and it’s even better when it can work yearround. This year’s crop have gentle volumes, reined in by such casual details as drawstring waists. Simple jewel necklines and shaped hemlines are other key design features.

Colour such a dress in a rich jewel tone contrasted with black as in the beautiful Butterick design shown here to get more mileage out of it, as such a classic colour combination will fly in any season.

BUTTERICK B6409 DRAWSTRING WAIST DRESS. MISSES’ SIZES: XS(4-6) - XXL(24-26)

Australian Stitches

35

Get The Look (MAIN IMAGE:) SIMPLICITY 8178 JUMPSUIT AND JACKET. MISSES’ SIZES: 6 - 22.

(INSET PHOTO:) SIMPLICITY 8172 KIMONO STYLE JACKET. MISSES’ SIZES: XXS(4)- XXL(26)

36 Australian Stitches

Get The Look

Get in Print Now of course, prints aren’t exactly a new thing, and indeed, they have been at the forefront of fashion for years … but they can refresh classic shapes like nothing else can. They also bring a breath of fresh ’Spring’ air to any item in a way that neutrals can’t.

Take that ever-reliable wrap dress, for example.

In a colourful foliage print as in the great Burda look on this page, it will look just as great next Spring with bare sandals as it does right now with boots and a jacket. It’s the way that the print is coloured that makes it work for any season; - A predominantly black and white base, splashed with little ‘hits’ of not-too-bright red, jade green and ochre, so look for similarly shaded prints to span the seasons… and the sharper and more graphic, the better!

Even current wardrobe staples such as the jumpsuit and the kimono sleeve jacket get ready for Spring when in print … Again, note the differences in those prints on the facing page.

Because the jumpsuit often acts as a hardworking ‘base’ to other items (here, it’s teamed with a great cropped jacket – another sign of next Spring!), the print is of a smaller-scale and in more subdued shades, so it acts in the same way as a neutral, but it’s inherently more interesting and lightens up its mood, so it will still look great in warmer weather.

That kimono sleeve jacket on the other hand is more of a ‘statement’ piece, so a brighter, bolder print is called for… and why not go all the way and mix two different types of prints? Print-mixing will once again be a very hot trend for Spring … and if you remember to vary the scale of those prints, but keep to similar colours, mixing two different prints together in one garment will be a snap!

BURDA 6574 CROSSOVER DRESS. WOMEN’S SIZES: 36 - 46

Australian Stitches

37

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Tips and Ideas

Adjusting the Shoulder Line We all know as we age our bodies start changing shape, but we don’t always know how to make adjustments to suit us. In this instance, we look at narrowing the shoulder line; we change in this area as we get older often because we lose weight or lose muscle tone on the shoulder and this can make a huge difference to the fit of a garment (this alteration can also be used for women born with narrow shoulders.) Then to add to our woes, we often expand around the middle where once a waist lived. So here are some great fitting tips to help you overcome these two pesky problems.

Compiled by Lynn Cook

Diagram 1

Standard Shoulder Line Alterations When it comes to patterns for the upper body, there is just one rule – if your bust is full, measuring 5.5cm (21/8in) or more than your high bust, select the pattern by your high-bust measurement. Then you have to make the adjustment for the shoulder line, and we’re talking shoulder-line alterations for a standard armhole only only. We will show you just how easy it is.

Minor Adjustments If the adjustment is minor, redrawing the curve of the armhole is a basic alteration that will work well.

Method Alter the front pattern piece first, then make the same alteration to the back pattern piece. See diagram 1.

When re-drawing an armhole, avoid altering the relationship of the armhole with the grainline or angling the armhole towards the neckline.

See diagram 2. To do either will

40 Australian Stitches

Tips and Ideas

result in sewing difficulties and lead to an unattractive finish.

Major Adjustments In the case of a shoulder requiring narrowing by 2cm (3/4in) or more, cutting the pattern at right angles is the preferred method. See diagram 3.

Method To affect this alteration, first draw a straight vertical line from the shoulder to the chest area of the pattern. Make sure the line remains parallel with the grainline.

Draw a shorter, horizontal line that extends to the armhole. This second

Diagram 5

line should join the first to form an exact right angle. Cut along both lines and slide the resulting pattern piece towards the centre front; at all times keep the vertical line parallel with the cut line. See diagram 4.

When the shoulder line reaches the desired length, re-draw the armhole curve maintaining the original relationship between the armhole and the grainline, then re-draw the shoulder seam as the line will have been broken by the alteration. See diagram 5. After making the alteration to the front, repeat for the back pattern piece.

When both pattern pieces have

been altered, overlap the patterns at the shoulder seam, matching the stitching lines. Look at the armhole curve. It should flow smoothly, if not, add to the pattern tissue and re-draw the curve by hand, or alternatively, use a French curve or similar product. See diagram 6.

TIP: When drawing or re-drawing any pattern curve, it is much easier if you use a French Curve ruler.

This is a curved ruler used for patternmaking and alterations.

You will find different styles of the same product in your local haberdashery shop.

Diagram 6

Australian Stitches

41

Tips and Ideas Diagram 1

Expanding the Girth â&#x20AC;&#x201C; pattern alterations for the large midriff

7.5cm (3in) 7.5cm (3in)

Diagram 2

As women age, they tend to put on an extra amount of weight around the middle section of the body, making it a difficult area to fit without increasing the armhole and bust area. Here we show you an alteration first brought to us by Sandra Beztina, which adds fullness without affecting the armhole.

1. To determine how much you need to expand the pattern, measure your body 7.5cm (3in) above and below your natural waistline. Use the larger measurement as your reference measurement. Add 10cm-15cm (4in-6in) of ease to this measurement. A drapey fabric, which is slightly more generous in the oversized area will be more flattering than a skimpy cut.

See diagram 1.

2. Compare your full-bust measurement to the pattern size you are using. Measure the pattern between the seam lines in your oversized area. Determine how much will be needed to reach your tummy measurement plus the 10cm-15cm (4in-6in) of ease. If more is needed at the bust, divide the alteration amount by four and add to the side seams.

Diagram 3

Spread each section 2.5cm (1in) 42 Australian Stitches

3. Check yourself in a full-length mirror. Is the majority of fullness at the front or is your fullness distributed around the middle section of the body in front and back? This will determine where the pattern is altered. For many women, the back is relatively flat and the fullness is located at the front only. For this figure, only the front pattern piece will be adjusted. If an additional 25cm (10in) is needed, and the front pattern piece represents only half of the front, the front pattern needs to be cut and spread five times with 2.5cm (1in) spreads to achieve the goal of an additional 25cm (10in).

4. Measure the bottom half of the front pattern piece and mark the

halfway position of the first slit.

Now divide each side into thirds so that five marks are clearly visible along the bottom of the pattern front. Starting at the marking closest to the side seam, extend the marking parallel to the grainline for 7.5cm (3in). At the end of this line, draw a horizontal line all the way to the side seam. At the next division, draw another line parallel to the side seam, only make this line 2.5cm (1in) or so longer before drawing the horizontal line across to the side seam. Continue in this manner across the front, each parallel line extending higher than the previous one, before drawing the horizontal line to the side seam. All horizontal lines must reach the side seam below the armhole. See diagram 2.

5. Place a large piece of paper on your work surface with scissors, tape and pattern ready for the slash-and-spread process. Tape the centre front of the pattern to the paper at the top and bottom.

Begin cutting at the front bottom and continue cutting across the pattern until you stop 3mm (1/8in) from the pattern cutting line at the side seam â&#x20AC;&#x201C; this will allow the pattern to lie flat when it is expanded. Spread the new panels evenly to 2.5cm (1in) for each opening along the bottom. Tape the pattern to the paper at the centre front and work towards the side seams. When completed, even out the bottom using a French Curve ruler and lengthen the pattern at the centre front so the hang of the garment will be correct. See diagram 3.

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Latest Fabric Trends

Fabric Stay on trend with the latest fabric styles. Check out the fabric swatches below for some fresh ideas and inspiration.

NEW ARRIVALS FLOWER POWER A new arrival of beautiful floral prints – these fabrics are a beautiful choice for your next project.

These new fabrics have a lovely subtle print. With their graceful colour palettes – you can’t go wrong!

Astratex Website: www.astratex.com.au Address: 273 Swan Street, Richmond VIC 3121 Phone: (03) 9427 9877

Astratex Website: www.astratex.com.au Address: 273 Swan Street, Richmond VIC 3121 Phone: (03) 9427 9877

STYLE AND GRACE A range of striking colours, these fabrics would work well for blouses, skirts pants and more. RRP ranges from $12.90 to $37.00 per metre.

Emerald Fabric Boutique Website: www.emfab.com.au Address: Shop 3/107 Clermont Street, Emerald QLD 4720

44 Australian Stitches

Latest Fabric Trends FLUTTER BUTTERFLIES A decorative design combining modern floral motifs that resemble free falling flowers with stemmed background. 100% cotton. RRP $28.20 per metre.

Emerald Fabric Boutique Website: www.emfab.com.au Address: Shop 3/107 Clermont Street, Emerald QLD 4720

MINI DOTS A lightweight fabric that is 100% cotton. A great choice for garments. RRP $15.00 per metre.

Fabric Frenzy Website: www.fabricfrenzy. com.au Email: fabricfrenzy@gmail.com

ALSACE With a nod to the beautiful historic textile prints from the heart of France, Alsace captures the essence of gracious French homes, with rich details and classic colours. From graceful Jacobean florals to elegant paisleys, the Alsace collection is a quiltmakerâ&#x20AC;&#x2122;s delight. RRP $4.50 per metre.

Everything Fabric Website: www.everythingfabric.com.au

BEAUJOLIAS CHANDELIER This sweet, feminine line from Penny Rose Fabrics features romantic designs in a range of reds, pinks, and greys.

The Beaujolias fabric collection has selections ranging from ornate, detailed designs to simple patterns and polka dots. Make use of a creative hexagonal pattern and pair it with a dramatic design, a floral fabric, or with a simple, muted pattern. RRP $5.50 per metre.

Everything Fabric Website: www.everythingfabric.com.au

Australian Stitches

45

What's Hot ~ Kids

SMALL

CHANGE Half the fun in kids’ fashion now is its quick and easy uptake of major ‘big-girl’ trends… on these four pages, we highlight some of the latest and greatest ‘little’ looks of the season!

Retro Toppers:

McCALL’S M7461 PRINCESS-SEAMED COAT AND JACKET WITH SHAWL OR PETER PAN COLLAR. CHILDREN’S/GIRLS’ SIZES: 3 - 14

The Cool Chambray Shirtdress:

NEW LOOK 6487 SHIRTDRESS. GIRLS’ SIZES: 8 - 16

46 Australian Stitches

What's Hot ~ Kids

McCALL’S M7425 GORED, FLARED SKIRT WITH BIAS-CUT PANELS ON HIPS. CHILDREN’S/GIRLS’ SIZES: 3 - 14

McCALL’S M7427 HOODED CARDIGAN WITH DRAPED SHAWL COLLAR AND LACE PANEL AT BACK! GIRLS’ SIZES: 7 - 14

STRIPES! Every Which Way ...

McCALL’S M7424 KNIT TOP WITH LAYERED HEMLINE & VARIATIONS. CHILDREN’S/GIRLS’ SIZES: 3 - 14

Australian Stitches

47

What's Hot ~ Kids

60’s F lower Children: SIMPLICITY 8225 PROJECT RUNWAY FAUX FUR VEST, 3/4 SLEEVE TOP WITH TRIMMED BODICE AND RUFFLE SLEEVES, SKIRT WITH ELASTIC WAIST AND LONG SLEEVE DRESS. CHILDREN’S/GIRLS’ SIZES: 3 - 14

Faux Fur & Tartan: VOGUE V9219 MALIA JANVEAUX FOR KATHRYN BRENNE FAUX FUR COAT AND MATCHING MUFF. CHILDREN’S/GIRLS’ SIZES: 3 - 8

Cute Kitties:

NEW LOOK 6486 ‘EASY’ ELASTIC WAIST SKIRT WITH CAT APPLIQUÉS CHILDREN’S SIZES: 3 - 8

48 Australian Stitches

What's Hot ~ Kids More abridged versions of the whole fashion story:Retro flashbacks to hippie flower children or 70’s ponchos updated with bright prints or snuggly faux shearlings … Fun faux fur in slick coats or shaggy vests … Sweet appliqués on denim skirts or dresses …

Updated 70’s Ponchos

McCALL’S M7460 ‘EASY’ CHILDREN’S/DOLL’S PONCHOS WITH FRONT FASTENINGS. CHILDREN’S/GIRLS’ SIZES: 3 - 14

Australian Stitches

49

Shopping Guide...

This issue, we are taking a look at our favourite sewing products on the market. From handy tools to storage solutions, these gadgets are sure to make your next project a breeze!

Mini Steam Iron for Craft and Travel

Eclipse Hobby/ Sewing Centre

Ideal for needlework, handicrafts and when travelling, this steam and dry iron has a unique, ergonomic rubber handle and a non-stick soleplate.

Its other features include: q .JOJ 4UFBN *SPO SFNPWFT XSJOLMFT GSPN BMNPTU BOZ GBCSJD q P[ NJMMJMJUSFT XBUFS UBOL q )FBUT VQ RVJDLMZ JO TFDPOET q 7BSJBCMF UFNQFSBUVSF TFUUJOHT q /PO TUJDL TPMFQMBUF q UPVDI TUFBN DPOUSPM

'FBUVSFT B MBSHF DN p XJEF UBCMF UPQ BOE B DN p TJEF TIFMG UIBU GPMET EPXO XIFO UIF TQBDF is not required. The piece also includes three fabric storage drawers and a large lower shelf for storing items. The handy drop down platform lowers and allows you to adjust for a variety of sewing machine heights or for a keyboard. The sewing centre comes XJUI EVSBCMF IFBWZ HBVHF TUFFM DPOTUSVDUJPO BOE TJY floor levers for uneven surfaces.

Overall dimensions DN8 Y DN% Y DN )

q .FBTVSFT Y Y DN q ZFBS NBOVGBDUVSJOH warranty For more information and stockists, visit www.birchhaby.com.au

For more information and stockists, visit www.birchhaby. com.au

PARTY ORGA 1950S LOVELY HOSTESS

CA NDY APRON PATTERN MC

LL

This is a fabulous original pattern, not a copy. Because the sewing patterns are vintage and pre-owned, each vintage sewing pattern is checked for completeness, for the pattern pieces and the instruction sheet. Please keep in mind these are vintage patterns that may show their age not perfect in appearance but still very usable. In many cases the vintage patterns have never been used and are uncut and factory folded.

For more information, visit www.sovintagepatterns.com

50 Australian Stitches

HOBBY & CRAFT TABLE WI

TH DRAWERS

Top Stitch Thread

The perfect table for cutting out fabric or for DSFBUJOH FYUSB XPSLTQBDF GPS DSBGU QSPKFDUT XJUI BEKVTUBCMF IFJHIU 5IF TJEFT GPME EPXO UP DN XJEF for handy storage and includes two mesh drawers so you can see what is inside. Equipped with a handy storage shelf, the table is also on wheels for easy mobility and a powder coated frame for durability.

0WFSBMM EJNFOTJPOT DN8 Y DN% Y DNr DN ) For more information and stockists, visit www.birchhaby.com.au

This thread can be used for ornamental stitches and backstitch seams, decorative seams, or for manually stitching eye buttonholes. Guetermannâ&#x20AC;&#x2122;s 5PQ 4UJUDI UISFBE IBT UIF GPMMPXJOH traits: 4JML MJLF HMPTT 4PGU BOE TVQQMF Tear and abrasion resistant &MBTUJD BOE FYUFOEJCMF Light-resistant and colour-fast Recommended needle and needle UIJDLOFTT 6OJWFSTBM /FFEMF /.

For more information and stockists, visit www.guetermann.com

SEWING AND NV2600 COMPUTERISED INE EMBROIDERY MACH

XT37 Sewing Machine

3FUSP 4UZMF XJUI NPEFSO FBTZ UP VTF GFBUVSFT UP NBLF TFXJOH FBTZ 5IF 95 JT POF PG UIF OFX HFOFSBUJPO NFDIBOJDBM TFXJOH NBDIJOFT GSPN #SPUIFS 5IF 95 EPFT OPU OFFE UP be oiled, which makes it a clean and easy to maintain. The top loading quick set bobbin is easier to thread than the traditional front loading sewing machines. Bulb lighting is a UIJOH PG UIF QBTU XJUI -&% MJHIUJOH QSPWJEJOH NVDI CSJHIUFS light to sew with at a low power consumption and will last the life of the machine. The included FYUFOTJPO UBCMF HJWFT ZPV BEEJUJPOBM workspace for all craft and sewing projects.

For more information, visit www.brother.com.au

5IF *OOPW JT /7 DPNQVUFSJTFE TFXJOH BOE embroidery machine has some big features for CFBVUJGVM SFTVMUT 5BLF BEWBOUBHF PG UIF CVJMU JO sewing stitches, or make your own with the Brother FYDMVTJWF FOIBODFE .Z $VTUPN 4UJUDI GFBUVSF " MBSHF XPSLTQBDF BOE FNCSPJEFSZ BSFB "VUPNBUJD )FJHIU "EKVTUFS ")" GFBUVSF BOE 1JWPU GVODUJPO all make for easy sewing, quilting and embroidery QSPKFDUT " CVJMU JO 64# QPSU BMMPXT ZPV UP FBTJMZ JNQPSU EFTJHOT GSPN ZPVS 64# NFNPSZ TUJDL FYQBOEJOH ZPVS EFTJHO DBQBCJMJUJFT CFZPOE UIF HFOFSPVT CVJMU JO FNCSPJEFSZ EFTJHOT 5IF *OOPW JT /7 HJWFT you creativity and control to enjoy sewing, quilting and embroidery projects.

For more information, visit www.brother.com.au

JEANS THREAD For darning jeans by hand or with the sewing machine, this thread can also be used to overlock and safety seams.

Other uses include fine ornamental stitches and decorative seams. The thread uses optimal colour adaptation UP KFBOT NBUFSJBM VTJOH CJ DPMPVS PQUJDT 3FDPNNFOEFE OFFEMF BOE OFFEMF TJ[F 6OJWFSTBM /FFEMF /.

For more information and stockists, visit www.guetermann.com

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51

Tips and Ideas

A Fitting Foundation Tired of patterns that don’t fit you? Tired of that sinking feeling when you look in the mirror at a finished garment and it looks awful?

Photo 1

52 Australian Stitches

H

ave you come to believe you have narrow shoulders? (You probably don’t!) Think you have a sway back? (Probably not) These are some of the comments I hear from ladies, when I first introduce them to Connie Crawford's patterns. The problem is not you – it is that many commercial patterns are not well drafted or graded properly for the mature figure.

Now, we have all tried to make various adjustments to these flawed patterns to get a better fit, but unless we know what is wrong (technically speaking) in the first place, our efforts can just lead to more problems and frustration. The answer is to start with a technically correct, well fitting pattern!

So, as I mentioned while introducing Connie in the last issue, Connie Crawford has created a fantastic range of basic pattern blocks, which will fit anybody – young or old, large or small.

Connie’s blouse block comes in 52 sizes. However, that doesn’t mean the sizing just goes from 0 – 52.

Connie’s patterns come in 13 sizes across 4 different body types. And that is the secret to her successfully fitting many hundreds of women!

These blocks were draped onto real women in every size and developed to create the best fitting patterns you will find. They are fitted firstly to the full bust area, as that is where the greatest

Tips and Ideas Photo 2

amount of fabric is usually needed and is the hardest area to fit.

(Don’t worry if you have a generous behind or a full tummy – they’re easy adjustments.)

So how do you use these bodice blocks?

First of all, take your full bust measurement (not the high bust) and note your bust cup size. The cup sizing isn’t as precise as a bra fitting; so don’t get too caught up with whether you are a D or DD. See photo 1 From the back of the envelope, choose your size based on these two measurements and make up the blouse in a calico or a cheap, stable, woven fabric. The pattern uses standard 1.5cm seams, but please be aware that the side seams

and sleeve underarm seams have 2.5cm seam allowances, which allow for the most common alterations.

The centre front also has 2.5cm seam allowance. If you need help with sewing instructions, there is a booklet included with the pattern.

There should only be one or two small adjustments necessary to personalise your fit. If you have any more than that, you may be using the wrong size or need to use a different body shape!

We are more than happy to assist you with any fitting issues you have with these blocks, so do not hesitate to contact me! To assist as many ladies as possible, we will have a separate column every month to answer your questions.

So get those questions rolling in!

Please include some photos of any

Photo 3

problem areas so we can diagnose the problem easily. You can contact to us at janetlikestosew.com.au for questions. See photo 2 The most common adjustment The most common adjustment we see is that a little extra room is needed for the hips. To assess this issue, pin the bodice together at the centre front using the full 2.5cm allowance.

If the bodice is too tight around the stomach, hips or bottom, undo the side seams to just below the bust dart and let the seam open up. The gap will tell you how much extra you will need to add to the side seams. This extra amount is added to the pattern by shaping a gentle curve (no straight lines please ladies!) out from below the bust dart and over your hip curve.

See photo 3

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53

Tips and Ideas Photo 4 Once you have perfected your fit you are on the road to easy and enjoyable sewing!

So, now you have a well fitting bodice block, what’s next?

How to use your personalised blouse block There are a number of ways to use your new blouse block.

Connie has a number of block patterns including two princess styles (armhole and shoulder). Once you have the correct fit in the basic block, the princess seamed blocks will fit you the same way. See photo 4

Photo 5

Butterick also sell patterns designed by Connie in a good range of styles. The Butterick patterns do not have the full size range of Connie’s custom patterns but if you follow these guidelines you will get good results: q 5P HFU ZPVS DPSSFDU TJ[F UBLF your full bust measurement and compare to the back of the envelope. You will probably be a different size in these patterns but that is okay. q 1MFBTF OPUF UIBU UIF #VUUFSJDL patterns are based on A-C cup for sizes 8-20 and C-DD in the XXL – 6X. q *G ZPV BSF PVUTJEF UIFTF CVTU DVQT for your size, you can still use these patterns as follows: q 6TF LOJU GBCSJDT r UIF TUSFUDI PG the fabric should provide the extra bust coverage that you need. q 6TF POF PG UIF NBOZ QSJODFTT TFBNFE patterns and reshape the princess seams through the bust area. q %POnU GPSHFU UP USBOTGFS BOZ changes from your basic block to the new pattern (eg extra shaping over the hips).

Another way is to use your existing patterns combined with Connie’s.

8IFO * ť STU EJTDPWFSFE $POOJFnT QBUUFSOT * UIPVHIU XIBU BN * HPJOH UP EP XJUI BMM UIPTF QBUUFSOT * IBWF BDRVJSFE PWFS UIF ZFBST %POnU fret! You can still use them. Now

54 Australian Stitches

Tips and Ideas

that you have the correct fit and sizing with Connie’s blocks and patterns, you can use your existing patterns to add the style details from your other patterns. You will now use your Connie block to establish the correct fit and then you can add a different neckline, that cute collar, interesting cuffs or slanted hems to create your desired style.

Connie has also produced a fabulous resource for us in her Patternmaking Made Easy book.

This book shows you in very clear detail how to make changes to your basic block to create a large range of designs from dresses and tops to jackets and vests. See photo 5

Connie’s block patterns and books can be purchased by contacting me at janetlikestosew.com.au or from Connie’s website fashionpatterns.com I am also available for individual or group fitting sessions for that extra personal service and assistance.

Once again, I can be contacted

through janetlikestosew.com.au.

Below are some easy changes I’ve made by blending Connie’s patterns with some old favourites.

By Janet Elmes Phone: 0414 714 589

By now, I hope your creative juices have started to flow and you can get excited about creating your own designs, safe in the knowledge that your garments will fit you well! Good fit is the foundation for great designs.

Photo 9 Photo 10 Photo 7 Photo 8

Photo 6 The original pattern was very boxy and had no darts so I used Connie’s block 1201, left out the fisheye darts for a more relaxed fit, added a side split and the neckline and collar from the original pattern. It looks much better now! See photo 6

This is Connie’s t-shirt pattern B5654 with an old favourite neckline added. See photo 7 & 8

Here is my wedding dress. I took Connie’s B 5193 (OOP), added long sleeves and lace, an empire line from an old favourite pattern, princess seams and godets. I also changed the bust gathers into pleats. See photo 9 & 10

Australian Stitches

55

Designer Focus

New York Fashion’s fun, flirty Queen of prints:

S

he’s come a very long way from the fun, witty and colourful conversational men’s ties that launched her name in the mid 1980’s, and nowadays, designer Nicole Miller is seen as a smart, savvy businesswoman as well as a fun-loving ‘girl’ (which she prefers to be called) who always loves to go out, meet people and have a great time, just like the women she dresses.

The Nicole Miller girl is someone ‘who doesn’t have to wear a suit to be strong’ she has often said.

56 Australian Stitches

In fact, even though her company now creates a wide range of items bearing her name, from menswear to bridal wear and a full range of accessories, including sunglasses, headphones and even iPhone cases, it is her sexy, fun-loving dresses, club and eveningwear that stands out, as the designer herself was one of the strongest and well-connected fixtures of the New York nightlife and social scene for years. ‘She likes to have a fun time, and that kind of energy shows up in her clothes…

The energy comes from the street scene, the club scene,’ former Vogue writer Susi Billingsley had remarked in an interview from the 90’s. Of her own style, the designer has said: “I’ve always been downtown and uptown.

I’ve had a lot of artist friends and I was always a little bit of a renegade.”

She has also explored such a wide range of design inspirations, from Byzantine cultures and ancient Mayan civilizations, and all sorts of musical influences from David Bowie to Grunge.

These all get filtered through her unique eye for colour, print and through those sexy, yet sophisticated cuts … but most of all, her inspiration comes from just getting out there, having fun (and of course, working hard,) and seeing the world. ‘Everything is an extension of my life …. and if my life stays interesting, the product stays interesting,' she has mentioned.

She also once related a story in Philadelphia magazine where: “I went down to do a fashion week in Santo

Domingo; I kind of went on a lark, but it ended up being a great experience … It is a colourful country with a lot of great people, and it gave me some great ideas. I met these crazy guys who dressed really eccentrically, and I think you will see bits of that in an upcoming Resort collection.”

A self-identified ‘fabric junkie', she has been credited with popularizing many futuristic fabrics. “I am always interested in the newest fabric; I think I was the first designer to get into metal fabrics, for example, and I have always been interested in how to take prints to another level,” she mentioned in a recent magazine interview. Her signature whimsical and colourful uses of print in particular look best in those fun, easy, form-flattering dresses, as shown from her current winter sewing pattern collection for McCall’s on these pages, featuring ontrend trumpet sleeves and feminine flared or draped skirts.

(INSET THIS PAGE:) McCALL’S M7503 NICOLE MILLER SLEEVELESS V-NECK DRESS. (MAIN IMAGE, FACING PAGE:) McCALL’S M7505 NICOLE MILLER TRUMPET SLEEVE DRESS. (INSET, FACING PAGE:) McCALL’S M7504 NICOLE MILLER SURPLICE, SIDE PLEAT DRESS. ALL STYLES: MISSES’ SIZES: 6 - 22

Designer Focus “I’m so concerned about proportions, curves and necklines.

It’s a very subtle thing and goes beyond the design …”

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57

Designer Focus

SPRING 2017 PREVIEW: Nicole Millerâ&#x20AC;&#x2122;s sharp eye for colour, print and figure flattery shines in easy wrap dresses and flowing asymmetrical tops.

58 Australian Stitches

Designer Focus

M

iller was born in Fort Worth, Texas, and raised in Lenox, Massachusetts, in the United States. Her father was an engineer at General Electric and her mother, who was French, ‘hated’ living in America and insisted dressing her daughters as “‘Little French Girls’ which mortified me and my sister,” she has recalled. When Miller was asked by the Mattel toy company to design a Barbie doll several years ago, she claimed to have never owned a Barbie herself because her mother insisted that she and her sister play with French dolls. ‘My mother was always clothes minded… we had French (fashion) magazine subscriptions at home, but I have my father’s mind …’ she stated in a 1993 interview with New York magazine, ‘The way you figure out how to make something is engineering.’

She studied design at the esteemed Rhode Island School of Design, (which this writer incidentally visited a few years ago and was very impressed by its beautiful campus and its amazing museum … if you ever find yourself in Providence, Rhode Island in the USA, I urge you to go visit it!), and while in her sophomore year there, arranged to spend a year in Paris, where she discovered, despite her mother’s best intentions, she was actually ‘all American.’ Even so, she spent her time there studying fashion design at the world famous L’Ecole de la Chambre Syndicale de la Couture Parisienne; “It was an Haute Couture school, and it was intensive, (but) I got incredible training in the aesthetics of clothing that I would never get anywhere else. I think the cut of clothes is most important … I’m so concerned about proportions and curves and necklines. It’s a very subtle thing and goes beyond the design. You put on a jacket that’s magic, and then you put on a jacket that’s very similar and it’s nothing…”

After that experience, Miller started as head designer at P.J. Walsh, a dress manufacturer, where she was hired by the company president Bud

Konheim, who has said one of the reasons he hired Miller was for her belief that design and business can be a successful combination. In 1982, Konheim renamed the company Nicole Miller and remains her business partner to this day.

When they were preparing to open their first boutique in 1986 on New York’s Madison Avenue, they needed to fill some space with accessories, so Miller “sent a bunch of old prints from dresses to Korea and had them turned into scarves. And Bud said ‘make me some ties’ (from the fabric). We put some in the showroom and before we knew it, we ran out.

We weren’t trying to be in the tie business but everyone was begging for more …” Miller has recalled.

From that start came expansion into printed boxer shorts and then

a wildly successful menswear line, then moderately priced sportswear, culminating in a designer - level womenswear collection that is shown at New York Fashion Week , which has garnered famous fans such as Anjelica Huston, Beyoncé Knowles, Angelina Jolie, Brooke Shields, Lauren Hutton and Susan Sarandon . “I’m always experimenting and testing and trying,” Miller has noted, and now she encourages others to do so with her effortlessly flattering and fun McCall’s sewing pattern collection.

(INSET, THIS PAGE:) McCALL’S M7579 NICOLE MILLER ASYMMETRICAL SEAM-DETAILED TOP AND PANTS. (MAIN IMAGE, FACING PAGE:) McCALL’S M7567 NICOLE MILLER WRAP-STYLE DRESS AND TIE BELT. ALL STYLES: MISSES’ SIZES: 6 - 22

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n o i t ra r 2 e t l A rne Co

Extending the Waistband Is the waistband and upper section on your favourite trouser, or pant, getting tighter? Here is a quick method to solve the problem and it should only take an hour to do (give or take).

By Judith Turner

T

hese pants had a hook and bar, but if it had a button and buttonhole, you would unpick from the BUTTON side around to the buttonhole, WITHOUT unpicking at the buttonhole area. In this case it is the hook area that is not unpicked.

See photo 1.

The bar will need to be moved. Use pliers to lift the hook on each end and release it from the fabric. Be careful not to do any major damage to the fabric. Stitch a zigzag over the original two puncture marks from the bar. The bar will be re-inserted into the new extension before completion of the alteration.

If there are belt loops they will have to be unpicked, as the position of them will change when the extension is complete.

There are two places the extra fabric can be found: 1. By releasing the centre-back seam.

2. By releasing the darts above the pockets. See photo 2.

Unpick any stay-tape around the top of the trousers, normally used 60 Australian Stitches

Alteration Corner Photo 1

to stabilise the fabric, but in this instance if it is removed, it will give more room by allowing some stretch.

Other areas to find extra fabric would be pleats or front darts.

Extension for the waistband The waistband has a panelled design feature â&#x20AC;&#x201C; main outer-band, top panel and waistband facing. The waistband lining is perfect for using as the new extension and once the garment is reassembled it wonâ&#x20AC;&#x2122;t be noticeable.

Unpick enough of the back waistband lining to form the new front extension. Using a fabric of similar colour and weight, insert this to replace the removed back waistband lining. See photo 3.

When putting it all back together, there is one way to ensure that it will look like it has not been altered, and that is to pin with the waistband on the top. The pins are inserted into the original stitching on the band and pierced into the original stitch line on the body of the garment. See photo 4.

If you pin to the body of the garment with the waistband underneath, you may miss the original stitch line on the band and it will be noticeable on the right side.

By releasing the darts and the centre back I added almost 5cm (2in) for the customer. See photo 5. Whilst the trousers are still firm, my client loves to wear all her clothes this way,

Photo 2 Centre-back seam

Back dart

Photo 3

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Alteration Corner Photo 4

so she was very happy to have the extra room and the trousers still look great. See photo 6.

Happy altering, Judith aka genie Visit my website www. geniecentre.com and click on the Free Hints, or you can subscribe to my Free Monthly Newsletter.

Exclusive entry to all Full Feature clothing alteration videos and digital eBooks is accessible through the â&#x20AC;&#x2DC;Magic Circleâ&#x20AC;&#x2122; on the website.

Photo 5

Workshops available.

To purchase Clothing Alteration Secrets Revealed by Judith Turner email: judith@geniecentre.com or phone: 0417 369 339 Price: AUD$54.95 (plus postage).

Digital version available: AUD$39.95 3rd Edition now available This is a revised and updated edition of the original book ... more illustrations and more content, but still with the Jean Genie on the front cover, and the DVD on how to use the Jean Genie.

Photo 6

62 Australian Stitches

Fashion Flash

Day

One Skirt four ways!

The great thing about sewing fashion is that it opens up a whole world of possibilities, even with something as humble and as simple as the dirndl skirt. But before you start thinking of 1950’s housewives or Oktoberfest beer maidens, we’re talking about a completely different skirt … one that is zooming to the top of the charts to become the surprise hit of the year! Here we take one such simple and easy to sew skirt pattern from Simplicity and show you all the exciting ways you can go with it.

M

ake it in a fresh, summery print, in the slightly longer length (of View A that you see on this page) so that it catches the breeze, pair it with an equally

64 Australian Stitches

easy top and some nude toned accessories, and it’s a great go-anywhere daytime look, especially with those in-seam pockets that bring this classic into the 21st century.

Fashion Flash

I

n a pretty pale shade and a soft fabric with a slight sheen, it easily takes that basic black everyday top out in the evening. The slightly shorter length, (just on the knee, as in View C in the pattern,) flatters lots of different legs and provides just enough â&#x20AC;&#x2DC;swirlâ&#x20AC;&#x2122; to dance the night away! It also makes a fresh, charming change from the standard pencil skirt. Add a knockout statement necklace and some killer footwear: (Ankle boots for a younger, edgier look ... black stockings and embellished pumps for an agelessly elegant look. )

Night

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65

Fashion Flash

W

Casual

66 Australian Stitches

hichever way you style it, this soft skirt really shines when itâ&#x20AC;&#x2122;s in casual mode, especially in a shorter length (as in view D of the pattern,) and in a fun, quirky and very colourful conversational print, in a lightweight cotton or cotton type. Express your own personality and go for whatever your heart desires!; - (Creative sewing Vlogger Mango Sirene uses a fun, unique print made up of vintage coffee logos when she sews up this very same style in a video on its page on the simplicity.com website.)

Continue the fun with freewheeling accessories, such as a straw fedora, a jangle of colourful bangles and a pair of mannish laceup Derby or Oxford flats, (more unexpected than the usual sandals!) for a perfect gadding-about-on-theweekend look that will stay fresh all Spring and Summer long ...

Fashion Flash

Chic

A

nother great , but somewhat more romantic evening look is the slightly longer ‘midi’ version (View B in the pattern,) with a very elegant galloon edged lace overlay and ribbon waist tie. Again, it can easily dress up your basic black top, and all it needs are some classic accessories such as a black quilted clutch, gold hoop earrings and glossy black kitten heels to make the dirndl skirt the last word in international chic … And for an unexpected twist, why not wear it with a slim, fitted denim jacket? It’s those unconventional mixes of fabrics and day/night textures, and that healthy disregard for old, outdated fashion ‘rules’ that really amp up your chic quotient and play up your own personal style!

(THESE FOUR PAGES:) SIMPLICITY 8176 EASY-TOSEW DIRNDL SKIRT. MISSES’ SIZES: 4-22 Watch an easy how-to video on sewing this skirt, on this style number’s page at simplicity.com

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Reader Offer

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Why not try this jumper!

If you would like to make this Free!

Pattern from Patons, email stitches@wpco.com.au and it is yours.

Please state in the â&#x20AC;&#x2DC;subject lineâ&#x20AC;&#x2122;: Patons Knitting Pattern Vol 25 No 7.

If ordering multiple patterns, just state in the email body text the numbers of each relevant volume you require.

68 Australian Stitches

AUSTRALIAN

Stitches

Achieve NZ Academy of Fashion Certificate in Apparel Creation, Dressmaking or Patternmaking

Apparel Creation- Module based learning -guiding you through the garment construction process using our simpliied patternmaking method.

Cindy Francis Email: adv@wpco.com.au Phone: 07 5499 9837

“Zentangles” ADD A SWIRL OF LINES TO PILLOWS, CUSHIONS, COVERS ETC .

TWO DIFFERENT COLLECTIONS 20X20 OR 20 X 14CM HOOPS. MULTIFORMAT CD OR USB $25 POSTED SINGLE FORMAT EMAILED $20 www.daphnesembroidery.com Daphne Neville 48 Quebec St Goolwa SA 5214 Ph 08 8555 2930

www.daphnesembroidery.com Australian Stitches

69

3URĂ&#x20AC; OH

Married to a Shearer Lucy Marsh

I married the smartest dresser in town.

H

e was single of course and drove, at very high speed, a smart FJ Holden car, which he soon traded for an even smarter FB Holden car. We courted at dances, movies in the Town Hall of a small country town, and later at the Drivein movies. Water skiing, basketball,

70 Australian Stitches

Junior Farmers and football made for a busy and enjoyable social life.

Then we married. Sport became a potentially dangerous activity.

An injury could mean the cropping or harvesting program on the small family farm could be jeopardized if the principal worker was out of action.

He was a married man now and took

the responsibility seriously. During the sixties there were a series of wet seasons and then it forgot to rain. The crops were thin and yields were low, lambing ewes struggled to feed their babies and the pasture was scarce. So he picked up his handpiece and went shearing again.

The days were long and the work hard. Longer still the days on the isolated farm for the young bride alone from 6.30am to 6.30pm. There was no telephone (mobiles hadnâ&#x20AC;&#x2122;t been invented and computers were a dream of the future) There was a vehicle at home for emergencies or the weekly shopping trip to town, but using petrol unnecessarily was out of the question.

Shearing is more dangerous than any sport. Sheep have sharp hooves and horns. Yards have loose rails and bits of wire sticking out, wool presses have angles and corners, bolts and steel bits waiting to tear clothes and injure the body underneath. Shearing handpieces designed to cut wool also sometimes cut sheep skin or the shearer if the sheep wriggles or kicks at the wrong moment.

So I learned to boil the copper

3URÀ OH

and pour deep hot baths and offer soothing words and hot food at the end of the day. Then the next day to light the fire and boil the copper again to wash the dirty smelly greasies, (shearing clothes) and survey the rips and tears gathered on the previous day. I was lucky I thought. From my mother-in-law I inherited the washing machine, a Simpson with a large bowl and a wringer on top. The same wringer that later ripped and mangled his favourite shirt. I never owned

up to that disaster, the shirt just disappeared.

One pair of well worn jeans has two back pieces in relatively good condition. These make good patches for the front of another pair of well worn jeans. Carefully and neatly turned in and zig zag stitched on the outside if the colour matches, on the inside if the colour is different.

Sometimes those rear legs made an almost full length patch to cover from thigh to ankle. This greatly prolongs

the life of the pants and provides a quick and easy way to mend a tear.

It doesn’t always work that way. A sharp horn or a handpiece mostly goes through both layers to create a need for patches upon patches. And no, it is not easy to unpick the double or triple stitched seams on men’s jeans, or dungarees as my mother-in-law always called men’s pants. Thankfully my trusty sewing machine was freearm, but gathering more than twenty inches of pants leg up to sew on a

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71

3URÀ OH

patch was not fun.

My neighbour was more creative.

Her husband had smiley faces or little houses or cars on his patches.

I was humbled but not repentant.

Her husband ‘just’ farmed. He wasn’t shearing as well.

Then came three new T shirts with big denim patches covering the most vulnerable sections of the shirt. And three new pairs of shearing pants with built-in double fronts. A pricey investment. Cost about 4-5 days of shearing money. Absolute bliss. Two whole seasons without needing major repairs, just the odd small tear.

Sometime later I went to the city for the dentist and a bit of shopping.

He managed to tear three pairs of pants in three days. Yep, he’s a farmer, he’s resourceful, he’s always fixing something around the place.

This mending gig can’t be that hard can it? Some hours later he rings me at the in-laws place. We had a telephone by then. “The cotton keeps breaking, I can’t get it (the sewing machine) to do anything but hop stitch!” “Yes dear, zig zag is the best for mending. Yes dear, haven’t you anything else to wear till I get home?”

Soothing words over smothered giggles. Not said: “I would really rather you didn’t play with my sewing machine.” It was a major purchase just before we married. It was treasured. I didn’t want it damaged.

My first experience of bargaining for a lower price was scary and felt very forward and a bit too grown up for me. Three sewing machines later I’m not so apprehensive about asking for a discount.

During Domestic Science at High School, nice girls learnt to darn socks. I loved the symmetry of the

72 Australian Stitches

3URÀ OH

warp and weft of the darning. The challenge to make it as neat as possible. Those were small holes.

Work socks not only got really large odd shaped holes but wore thin around the heels and toes of the socks. These needed reinforcing, and might last a couple of weeks or even a month of wear. Fast forward about 30 years. Socks are now made of a wool and synthetic blend. They last much longer and get far fewer holes.

Socks with holes go straight to the rubbish bin. No guilt, no remorse, no money saving compunction.

Just relief. Break out one of those new pairs he got for birthday or Christmas that have been waiting in the drawer for their time in the sun.

And then there was the time his shirt got caught in the horizontal augur on the harvester. He tore the buttons off as he ripped it open and pulled it off. Later we could not tear the material. Polyester cotton is unrippable when it is new. Fear gives superhuman strength. I did not repair it. We kept that shirt to demonstrate to future offspring and farm workers the need for vigilance and “Farm Safety.”

Now he is retired and there is little need for mending. Most of the grime on his clothes from hobbies comes off when soaked in truck wash.

Ruthless culling of clothes marked with paint or fibreglass resin takes care of immovable stains. No fancy patches to cover those.

Do I miss it? Not at all. I do miss our youth and strength a bit. However, I am looking forward to making up that beautiful soft thick cloth into a long warm jacket nicely lined with flannelette check material for his next birthday. Do you think he will like it?

Australian Stitches

73

Questions & Answers

5Q[[ML I +WXa'

Fitting Solutions

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74 Australian Stitches

Photo 1

I recently received a letter from Deborah asking about how to correct a small problem she had while fitting her Connie Crawford block. Deborah asked how to get rid of that pull line at the base of the armhole.

(See photo 1)

The reason for that pull line is not instantly obvious.

The problem is that there is not enough fabric to cover the back area above the shoulder blades. The upper area does look fine in the photo but if you add some extra length to the back neckline the pull line will drop out and the back will sit smoothly. You’ll need a sewing buddy to help you with this. Pull on the hemline of the shell until the pull line disappears at the armhole and make a note of how far the back neckline comes down. That is the amount you will add to the back neckline. It would usually be about 1-2cm.

Redraw the back neckline using a French curve.

Find the part of the curve that matches the original neckline, hold the curve down at the shoulder end and pivot it up by the required amount at the centre back.

Please also ensure that the curve hits the centre back at a right angle (90 degrees). Otherwise the neckline shape will not be smooth.

Here is a diagram of how to make the adjustment.

If you don’t have a French Photo 2 curve, use your eye to replicate the shape of the original neckline in the new position. (See photo 2) We would love to hear from anybody who is having fitting issues so we can help solve them once and for all! Please send us photos as well as a description so the problem is very clear. Please contact janetlikestosew.com.au for submissions.

– Janet Elmes

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Shows and Exhibitions Australia and New Zealand Sewing Stitching and Handcraft Show 14 - 16 July 2017 Adelaide Showground Adelaide, SA Sewing Stitching and Handcraft Show is a three day event being held from 14th July to the 16th July 2017 at the Adelaide Showgrounds in Adelaide, Australia. This event showcases products like stitch, sewing, card making, embroidery, knitting, patchwork, quilting, scrapbooking, needlework, paper-craft, stamping, beading, and much more crafts in the Knitting & Stitching industry. For more information, visit www.adelaideshowground.com.au Auckland Festival of Quilts 3 – 5 November 2017 Auckland Netball Centre Auckland, NZ Hundreds of quilts made by the Auckland Quilt Guild members will be on display, in a judged competition. Come and see who won our most sought after prizes - Best in Show, and Best Amateur quilt with prizes kindly provided

by Bernina. This year we will be awarding a Best Modern Quilt prize so we’re expecting lots of modern quilts. Quilt shops from around New Zealand will help you with the latest fabrics, and quilty things you just need to have. Non quilty shops selling beads, knitting designs, scissors, and textile treasures will also be there. For more information, visit www.aqg.org.nz Modern Quilt Show Australia 3 – 5 November 2017 Petersham Town Hall

76 Australian Stitches

Petersham, NSW Australia’s 1st Modern Quilt Show was founded and presented in Berry NSW during May 2014 by Wollongong Modern Quilt Guild.

The following year Modern Quilt Show Australia 2015 was once again hosted by Wollongong MQG, this time in beautiful Kiama. With a vision to see the show hosted by the various Modern Quilt Guilds of Australia, the baton has now been passed. The first step is to Sydney who will host the fourth annual show, following a very successful Modern Quilt Show Australia in 2016. Three days of quilting workshops with international and national teachers, fabric stalls and a huge display of modern Australian quilts. For more information, visit www. modernquilters.com.au Australian Quilt Market 25 - 26 November 2017 Melbourne Exhibition Centre Melbourne, VIC Since 1998, the Australian Quilt Market has been the prime venue to view and buy the very latest in patchwork, fabrics, professional quilting machines, threads, domestic sewing machines, notions, patterns, needlework, beading and accessories. From its humble beginnings, the AQM has become the largest wholesale event in the southern hemisphere!

The market offers access to hundreds of internationally renowned manufacturers and converters. For more information, visit www.aqm.net.au International The Festival of Quilts 2017

10 – 13 August 2017 Birmingham, England The Festival of Quilts is home to the largest quilting competition in Europe with a magnificent display of over 700 competition quilts.

This year the show has introduced a brand new modern quilting category. Make sure you pop down and view the quilts. Be a part of this year’s show by entering into our Festival of Quilts Competition.

We display over 700 competition quilt entries at the show. We have over 180 workshops and talks available within the Quick & Easy Academy. We also have over 300 exhibitors selling essential patchwork and quilting supplies you’ll find everything you need.

For more information, visit www. thefestivalofquilts.co.uk Grand Rapids Quilt Show 16 - 19 August 2017 Michigan, USA Let your quilt-loving heart soar as you walk through row after row of incredible quilts and visit hundreds of vendor booths.

Learning experiences abound— be sure to find your favourite instructors in workshops and lectures. Indulge your imagination with creative insight from the world-class quiltmakers displaying and teaching at AQS Quilt Week!

Along with the authentic and unforgettable experiences at the event, enjoy the downtown area with its artful outlook on life.

You’ll find wonderful restaurants, museums, and parks to explore in Grand Rapids. For more information, visit www.quilt-show.com/quiltweekgrand-rapids

Meet our new

â&#x20AC;&#x2DC; Aurora Australisâ&#x20AC;&#x2122; the next generation BERNINA Aurora phenomenon.

The B 570 QE is a sewing, quilting and embroidery machine with a simple, classic design and superior functions. It has a fabulous stitch package, CB Hook, BERNINA Stitch Regulator, 10 year warranty and optional embroidery module, making it the perfect machine to take to class.

With a sewing speed of up to 900 stitches per minute, a maximum stitch width of 5.5 mm, maximum stitch length of 5 mm, and 190 mm length of freearm, right of the needle space. This innovative machine is designed for mastering freemotion stitching techniques with ease.

The B 570 QE also has an embroidery module option with 680 embroidery stitches per minute, 50 built-in embroidery designs, 4 alphabets and Embroidery Foot #26.

Additionally, the B 570 QE offers artisans with an amazing sewing stitch package that includes 642 sewing stitch patterns, 29 utility stitches, 180 decorative stitches, 30 quilting stitches, 8 buttonholes, 2 eyelets, 1 button sew-on program, 2 darning programs and 5 alphabets. The machine comes with 7 presser feet including the Reverse Pattern Foot #1, Automatic Buttonhole Foot #3A, Zipper Foot #4, Blind Hem Foot #5, Open Embroidery Foot #20, Patchwork Foot #37, and BERNINA Stitch Regulator #42. The B 570 QE's cutting-edge technology also includes 12 LED lights to illuminate the sewing area, a semi-automatic threader for easy threading, and an extensive memory bank that stores up to 100 stitch combinations, which can be intuitively navigated.

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&& ,-"- ! 0" -! (+ ) + - ,-"- ! *. %"-2 3 -"- ! .% -(+ ' ()-"(' % & +(" +2 3 2 + 0 ++ '-2 The BERNINA 570QE ", / +2-!"' 2(. ' - an unbelievable price! ( "' (.- &(+ (.- -! ' 0

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Tips and Ideas

Fabric Conversion Chart Use the chart below as a guide to estimate the amount of fabric needed when selecting a fabric width not listed on the back of the pattern envelope.

Conversion Measuremnts

Fabric Widths 90cm

35in

115cm

45in

140cm

54in

150cm

60in

Metre

Yard

Metre

Yard

Metre

Yard

Metre

Yard

1.60

13/4

1.30

13/8

1.05

11/8

0.95

7/8

1.85

2

1.50

15/8

1.30

13/8

1.15

11/8

2.10

21/4

1.60

13/4

1.50

1 1 /2

1.30

11/4

2.30

21/2

1.95

21/8

1.60

13/4

1.50

11/2

2.65

27/8

2.10

21/4

1.85

17/8

1.60

15/8

2.90

31/8

2.30

21/2

2.10

2

1.75

13/4

3.10

33/8

2.55

23/4

2.20

21/4

1.85

17/8

3.45

33/4

2.65

27/8

2.40

23/8

2.10

21/8

3.90

41/4

2.90

31/4

2.55

25/8

2.20

21/4

4.15

41/2

3.10

33/8

2.75

23/4

2.40

21/2

4.35

43/4

3.35

35/8

3

27/8

2.55

25/8

4.60

5

3.55

37/8

3.10

31/8

2.65

23/4

78 Australian Stitches

Book Club It’s always a treat to find time to relax with a good book. This issue, we have found two wonderful reads that every sewer is sure to love.

How to Use, Adapt and Design Sewing Patterns by Lee Hollahan

A-Z of Smocking

By Country Bumpkin

Accomplished fashion designer Lee Hollahan shows women who make their own garments how to improve on store-bought sewing patterns by adjusting the clothing item’s length and other details to reflect personal taste and create a custom fit.

The book’s opening chapters present an illustrated guide to the tools, equipment, and fabrics needed for making garments, while also serving as a miniature textbook to teach basic sewing techniques.

Chapters that follow offer detailed instruction in adapting and altering a store-bought pattern to suit individual tastes. Chapter 2 covers commercial patterns and includes a section on body shape, Chapter 3 looks at pattern alterations, Chapter 4 focuses on designing your own patterns, Chapter 5 contains pattern blocks and Chapter 6 looks at core sewing techniques.

The alterations covered in this book include adding flare, and modifying the shapes of bodices, arm holes, neck lines, sleeves, and skirts. The book’s final chapters teach you how to design your own patterns from scratch. Author Lee Hollahan demonstrates to her readers that once they understand how to adapt a store-bought pattern, they are well on their way to custom designing their own wardrobe. This handy book includes more than 500 instructive illustrations.

The author, Lee Hollahan, teaches pattern cutting in fashion and fashion textiles at the University of West of England, Bristol. She has designed costumes for TV, film, and the stage, and she frequently lectures on the subjects of pattern construction and the history of fashion.

Compiled by the expert team at Country Bumpkin, this book is a must-have for any smocker. Beginners will find the instructions clear and easy to follow, while more advanced smockers will discover new or little-known techniques that will provide fresh inspiration. Smocking is a traditional craft that is set to make a comeback, so you really can’t go wrong with this essential guide.

There are over a thousand step-by-step photographs along with comprehensive advice on the fabric, needles and thread needed and a glossary of smocking terms.

You will learn how to pleat, block and smock, as well as discover freeform smocking, working with ribbon or beads and much more.

A-Z of Smocking will provide any passionate smocker with an endless source of ideas, instructions, tips, explanations and projects. It will show you how to work the stitches, read graphs, and select colours, fabric and threads, and it teaches how to pleat and block a garment, gives advice on different techniques such as ribbon weaving, counterchange, template and freeform smocking and much more. All the projects are lovely and timeless, and this book will give you the incentive you need to further refine and develop your smocking skills – all while having fun, of course!

Australian Stitches

79

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Stitches Next Issue PUBLISHER Simon Mullen SUB EDITORS Anita Mullen, Amy Butler FASHION EDITOR Eddi Frantz DESIGNER Tara Mullen PHOTOGRAPHER Alex Mullen CREATIVE DIRECTOR Hayley Jagger EDITORIAL ENQUIRIES Phone 02 4733 8482, Fax 02 4733 8583 Email: stitches@wpco.com.au NATIONAL ADVERTISING MANAGER Cindy Francis Phone: 07 5499 9837 Email: adv@wpco.com.au ADVERTISING COORDINATOR Gail Pellizzon Advertising enquiries Phone: 02 4733 8447 Email: adcopy@wpco.com.au

Vol 25 No 7 -Signals of Spring … the looks, ideas, shades, shapes and details to watch.

-Resort Report – Hot off the runways of Mercedes Benz Fashion Week Australia -The game-changing jacket that instantly pulls together any outfit -What’s Hot: The dress – lighter, brighter, easier!

-Accessories: All the news in black and white -Designer Focus: Katherine Tilton – ageless style!

SUBSCRIPTION ENQUIRIES Janie Medbury Phone: 02 4722 2260 Fax: 02 4733 8583 Email: subs@wpco.com.au Website: www.wpco.com.au For back issues call 02 4733 8447 Retail Sales/OverseasDistribution Enquiries Simon Mullen Email: simon@wpco.com.au PUBLISHED BY Published, promoted and distributed by Woodlands Publishing Pty Ltd (ACN 115 093 162).

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