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FRESH IDEAS WITH FABRIC Autumn is on the horizon and we’re using the change in season as a perfect excuse to switch things up a little! We’re embellishing our clothes with fancy embroidery stitches and lace trim, giving our homes a modern makeover with calming painterly prints and adding new linen textures to our wardrobes. Whether it’s rejuvenating an existing garment, or sewing up something completely new – these next few months are the perfect time to unwind and enjoy some slow stitching before (dare we say it) festive me-mades start appearing on our to-sew list... Share yours using #simplysewingmag

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ake n er M ou ivi for ac , 18 sp ISSUE SIXTY

FRESH IDEAS WITH FABRIC

CONTENTS

Se Th m D es , 32

P18 6 FRESH UPDATES

Ea At e Ns f R o

w T ...

18 MODERN HOMEWARES

41 WORKSHOP: FBA

31 QUICK FIX: STITCHED NAPKINS

Your step-by-step tutorial for doing

32 PATTERN: THE AUTUMN DRESS

a Full Bust Adjustment on patterns

36 REFASHION: TURN TROUSERS

51 STITCH: LADDER STITCH

INTO A PINAFORE DRESS

Make a passport cover

44 PATTERN: THE PENCIL SKIRT 55 QUICK FIX: LACE TRIMMED TEE

90 LION TOY TEMPLATES 93 YOUR SEWING GUIDE

56 PATTERNLESS: EASY SKIRT

Tips, techniques and a glossary

61 VELVET HANDBAG 68 PATTERNLESS: PYJAMAS 73 TIE DYE PATCHWORK THROW

81 FABRIC VEGETABLE BOX 84 TOY: LION PLUSHIE

Se i G o c r E : m e t e De i Ne s Ch m Io i G n Lu i i Y

Se plushi , ion 84

A stiTch iN time...

win £639 JanOme SewIng MacHine

Enter to win a brand new Janome M200 QDC computerised sewing machine with extendable table worth £639!

Enter on p15

...saves nine. That'ss the saying, right? Never before has this seemed such a relevant phrase, as I unpick a toile II'm workingg on – that'll teach me for trying to sew late at night! Getting the right fit can be challenging (read more about sewing for curves on p64), but we always recommend you sew a toile (test sample) before cutting into your favourite fabric. I use old bedsheets for mine! If you're after a quicker finish, we've got plenty of weekend-friendly makes such as our patternless skirt (p56) lace-trimmed tee (p55) and patternless PJs (p68) that'll rival your kid's favourite bedwear! Until next time...

Charlie Moorby, Moorby Editor

9 PINBOARD: Ideas, events, new fabric 15 WIN: £639 SEWING MACHINE 48 COLUMN: SEW OVER IT 53 PIN UP: STITCHED HOOPS 59 PIN UP: EMBROIDERY GUIDE 64 FEATURE: SEWING FOR CURVES 72 SUBSCRIBE OVERSEAS 76 PROFILE: HAND & LOCK 8 BACK ISSUES TO COLLECT 97 COMING UP NEXT MONTH 98 MY FAVE THING: BEN MOORE + NUSTERN BOY PAT

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RIC

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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, Adam Gasson and Jesse Wild

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

on my workscent” f o e r o m cre “See @clothand Instagram

“Buy my embroidery patterns at www.wildolive.etsy.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

LORNA SLESSOR

MOLLIE JOHANSON

Lorna is a Bristol-based modern quilter who splits her time between selfish sewing and working as Production Editor at Love Patchwork & Quilting magazine (www.lovepatchworkandquilting.com). Try her modern home makes on page 18.

Mollie Johanson is a craft author, illlustrator, stitcher and Etsy seller who lives near Chicago and is happiest with a cup of coffee in one hand and her embroidery in the other. See more of her work at www.molliejohanson.com and on page 51.

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

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

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

FRONTLINE Call +44 (0)1733 555161

BY WILLIAM GIBBONS

O “Find me and my latest sewing on Instagram @deliacreates”

“Find more inspiration on blog www.madepeachy.com”my

DELIA RANDALL

LAURA STRUTT

Delia is a maker and a mum of three who loves to sew and make fun things in her little house nestled between the forest and the sea in Washington state, USA. Find her skirt pattern on page 44 and browse more of her work at www.deliacreates.com

Laura Strutt is a passionate designer and enjoys knitting and crochet, as well as dressmaking, quilting, and hand-lettering. Her latest book, Modern Embroidery, is packed with 35 colourful projects to stitch. Find one of them on page 31.

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

THURSDAY 3 OCTOBER 2019 No gift included? Ask your newsagent. Covergift may be unavailable overseas.

OTHER CONTRIBUTORS Anna Alicia, Rachel Avery, Juliet Bawden, Karoline Dahrling, Jessica Entwistle, Sarah Gane, Debbie von Grabler-Crozier, Mollie Johanson, Portia Lawrie, Debbie Maxwell, Lucy Ward Special thanks to: Becki Clark

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Immediate Media Company Bristol Limited (company number 05715415) is registered in England and Wales. The registered office of Immediate Media Company Bristol Limited is at Vineyard House, 44 Brook Green, London W6 7BT. All information contained in this magazine is for information only and is, as far as we are aware, correct at the time of going to press. Immediate Media Company Bristol Limited cannot accept any responsibility for errors or inaccuracies in such information. Readers are advised to contact manufacturers and retailers directly with regard to the price of products/services referred to in this magazine. If you submit unsolicited material to us, you automatically grant Immediate Media Company Bristol Limited a licence to publish your submission in whole or in part in all editions of the magazine, including licensed editions worldwide and in any physical or digital format throughout the world. Any material you submit is sent at your risk. Although every care is taken, neither Immediate Media Company Bristol Limited nor its employees agents or subcontractors shall be liable for loss or damage.

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IDEAS

INSPIRATION

ACCESSORIES

WEBSITES

EVENTS

STUFF

SASHIKO INSPIRED Hand-stitched details are one of the prettiest ways to give your projects a truly bespoke, one-of-a-kind look – and the fabrics from Rico’s Jardin Japonais collection are just calling out for customisation! The geometric cotton prints, inspired by Japanese sashiko embroidery, can be easily personalised with stitching for a unique-to-you piece. www.rico-design.de

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PRETTY PLANNER How do you plan W

your projects? When we’re not collecting inspiration on social media, we’re filling our sketchpad with illustrations, photos, swatches...and cute stickers from Stickii! Stickii's subscription includes themed packs every month, and you can also buy the packs individually – including vintagestyle sewing designs with buttons, thread snips and more! Go to www.stickiiclub.com

F ea E y Sew House 7's Free-Range Slacks pattern is so called because of how free you’ll feel when you wear them; designed for drapey linen fabrics, and with a loose, cropped silhouette, comfy elasticated waist and pockets, they're the ultimate in easy chic. Find the pattern at www.sewhouse7.com

PARTYPOPPER Having the skills to whip up a frock for a special occasion is one of the many empowering things about sewing, and you’ll feel like a million dollars in your version of Amy Nicole’s Chelsea Party Dress. An empire-waist design with a plunging neckline and open back, it can be made as a cocktail dress or maxi. There’s no party like a handmade party! Go to www.amynicolestudio.com

MODERN MUSTARD If we had to pick one colour to sew with forever, it would be mustard yellow! So we can't wait to get our hands on Alice Caroline’s exclusive Liberty range, The Mustard & Grey Collection, with four of Alice Caroline Garrett’s favourite Liberty designs in gorgeous mustard yellow and grey tones. “I am delighted to have worked closely in collaboration with Liberty again,” says Alice. “The collection was inspired by my love of Capel mustard from the Liberty Classics, and has a contemporary feel yet still retains the beautiful classic Liberty floral prints.” Visit www.alicecaroline.com

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Psst! Find Alice Caroline's Market Tote project (made from these new fabrics!) in issue 61, on sale 3 Oct.

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Th At e N d T Autumn jackets Production Editor Michelle’s jacket pattern picks. IN THE FOLDS’ FLYNN The Flynn Jacket is great for layering and an achievable first outerwear pattern to try for confident beginners looking to boost their skills. I love its loose-fit silhouette, bias-bound seams – and that it has pockets! Find the pattern and more at shop.inthefolds.com

mini profile FOXGLOVE & FIELD We wouldn’t get very far without our sewing tools; from the smallest thread snips to our sewing machine (and, yes, we’ll admit it: our seam ripper), we couldn’t sew a stitch without these essentials. And now there’s another hero product we won’t be without – Foxglove & Field’s pattern weights. They might be small, but, weighing 130g each, your pattern will be held firmly in place with these little helpers (and they'll look good on your cutting table!). So, how did founder Louise come up with the idea? Surprisingly, inspiration didn’t strike in her sewing room, but while driving on the M62 (west of Goole, to be precise) on a road trip with her husband. “We were talking about sewing weights. I felt there was a gap in the market and wanted to do something that was as beautiful as it was practical,” she explains. “We were pinging ideas back and forth and it just came to me, as a collector of vintage cotton reels, to emulate something I love!” The covetable resulting reels come in two sizes and a variety of prints, including Liberty florals. We want to collect them all! In fact, even Louise herself finds it hard to choose a favourite: “I design what I love so I love them all. If I had to pick (can I pick two?), it would be ‘Liberty Wishes’ and ‘Cottage Garden’ which is a Tilda fabric. The most popular one to date has been ‘Liberty Love’ which was the first set I designed and made. The different fabrics

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came together after I raided my stash of fabrics that were left over from my various dressmaking escapades.” Louise’s work day now starts with “a cup of tea, walking the dogs and then my commute to work; 36 steps from the backdoor to the workshop!” says Louise. “I genuinely love making every single weight and I’ve made thousands! I put the radio on and just get lost in the process.” Launching her own business has been a learning curve. “To be honest, like most small businesses starting out, I thought it would all be about making beautiful weights,” explains Louise. “But that’s just the finished product. It’s everything from sourcing materials to the accounts to social media.” Her biggest joy? Knowing she’s created a product people love. “I get emails from customers who get back in touch to say what a difference my weights have made to their sewing experience. One lady was so happy with hers, she made me a cotton reel apron and I love it. I love having a job that is creative, different and makes people happy!” Visit www.foxgloveandfield.co.uk

"I felt there was a gap in the market and wanted to do something that was as beautiful as it was practical.”

CASHMERETTE’S CHILTON TRENCH Sew a classic you’ll wear for years to come with Cashmerette’s timeless trench pattern. Fully lined and with sophisticated details such as a two-part collar, cape, epaulettes and double topstitching, it’s the ultimate curve-friendly trench coat. www. cashmerette.com MERCHANT & MILLS OTTOLINE Workwear jackets have been all over the high street this year, and the boxy shape of this one is so easy to style. It’s great for honing your topstitching skills, too – make sure you pick a contrasting thread to really show it off! www.merchantandmills.com

CLOSET CASE PATTERNS' JASIKA BLAZER When you want to look sharp, only me-made will do! And the Jasika Blazer is the definition of sharp tailoring, with clear instructions using modern speed tailoring methods to make the process accessible for all. store.closetcasepatterns.com

Pinboard BEEEXCLUSIVE Have you been W

following Great British Sewing Bee series 5 winner Juliet Uzor’s sewing adventures after the show? You'll love what she has in store for her new collaboration with Singer Sewing Machines – she’ll be sharing a series of exclusive projects, available for all to access on Singer’s social media, at www. singerco.co.uk and at www.sewsonatural. com. “I’m excited to be working with an iconic sewing brand like Singer,” she says. “We have some great projects planned that will hopefully inspire sewists of all abilities to have a go with us."

i t Wd When you can’t scroll through Instagram without seeing multiple versions of the same pattern, you know it’s become a cult favourite – and it's no surprise that The Wilder Gown, a tiered design with an ethereal vibe, is one such pattern. Think Stevie Nicks, Kate Bush and Florence Welch, if they made their own dresses. www.fridaypatterncompany.com

3 of the best EMBROIDERY Get inspired by this issue’s embroidery guide and start a collection of hand-stitched pretties. 1. Yes, we know it’s not quite time for all things festive, but we couldn’t resist snapping up these embroidered decorations, all ready to create our boldest, brightest tree yet! www.oliverbonas.com 2. We want a whole alphabet of these stunning letter brooches by Hattie McGill, which are entirely hand-embroidered in the traditional technique of goldwork. £15 each, www.hattiemcgill.etsy.com 3. When we’re having a busy week but still want to squeeze in some sewing time, what’s a crafter to do? We’re fans of embroidery kits for a creative fix, like these from www.woolwarehouse.co.uk

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WORKOFART Think tapestries are just for hanging on your wall? Think again: French designer-maker Elodie uses beautiful vintage tapestries to customise denim jackets, adding them as panels and patches to create unique, one-off pieces of wearable art for her clothing brand Frankie. She also makes matching clutches and bags, too. Find Elodie’s jackets and bags, plus more handmade goodies by other talented designers, at www.urbanmakers.co.uk

Pinboard

SIMPLE SHAPES STUNNING QUILTS Stuart Hillard (£22.85, Pavilion Books) GBSB series 1’s Stuart Hillard shows you how the simplest of shapes can make stunning quilts with this book’s 100 patchwork designs to sew. It includes five skills-building chapters to work your way through: One-Patch Quilts – made using one repeated shape – Strips and Squares, Triangles, Curves, and Foundation Piecing. www.pavilionbooks.com

BACK TO NATURE Bring the great outdoors to your sewing room with illustrator Louise Cunningham’s quirky Natural Beauty collection for Cloud9 Fabrics, celebrating bunnies, butterflies, beetles, blooms and other natural wonders. Printed on quilter’s weight cotton, these intricate prints will sew up beautifully into kids’ clothes, patchwork quilts, pouches and more. For stockists visit www.hantex.co.uk

out & about

SKILLS, SHOWS & EVENTS 10 13 OCTOBER 2019 Knitting & Stitching Show. Alexandra Palace. A four-day extravaganza of all things crafty, with demos, workshops and shopping. www. theknittingandstitchingshow.com

19 OCTOBER 2019 26 JANUARY 2020 Pioneers: William Morris and the Bauhaus. William Morris Gallery, London. Discover the link between English Arts and Crafts and the Bauhaus in Germany. www.wmgallery.org.uk

Tt r l b a Y No matter how long you’ve been sewing for, there’s one skill you probably haven’t mastered: folding sewing patterns so they fit neatly back in the envelope. We’ve not managed to do it yet! So these archive envelopes are a life-saver; slightly larger than A4 and with a side gusset and space on the front to add pattern artwork and notes, they’re going to revolutionise our pattern storage. Available in packs of five or ten, www.creative-industry.co.uk

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26 OCTOBER 2019 Black Girls Stitch Up with Kre8ive Shack. Village Haberdashery, London. A beginner’s embroidery workshop by Shikira AlleyneSamuel that's all about embracing Afro hair. www.thevillagehaberdashery.co.uk

13 NOVEMBER 2019 Make The Costermonger bag. Merchant & Mills, Rye. Learn how to sew Merchant & Mills' Costermonger backpack, with notions and fabric included. www.merchantandmills.com

MODERN EMBROIDERY Laura Strutt (£12.99, CICO Books) Creating a piece of art with nothing more than fabric, threads and an embroidery hoop feels like magic, doesn’t it? And Laura Strutt’s new book has 35 on-trend designs for you to conjure up, including brooches and patches, a geometric travel card wallet, a table mat and coaster set, a statement necklace and more. Psst! Make embroidered napkins from the book on p31. www.rylandpeters.com

SEW BAGS Hilarie Wakefield Dayton (£18, Stash Books) Learn how to sew professionallooking handbags and discover your inner bag designer with this book for all ages and abilities by sewing teacher and fashion historian Hilarie Wakefield Dayton. It covers the bag-making process from start to finish, with all the essential skills you'll need to get started on making the book’s 13 modern bag patterns. www.ctpub.com

MINI MASTERPIECES Alyce Blyth (£20.99, Lucky Spool Media) Mini quilts are perfect for sewists who want to try something new but don’t have time to take on a large-scale patchwork project (and with a to-sew list as long as ours, that’s music to our ears!). This book by experienced quilting teacher Alyce Blyth includes 12 essential mini blocks to try. Fun to sew, stash-busting and speedy to finish, these mini marvels are ideal for gifting or displaying on your sewing room wall. www.luckyspool.com

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! N E P O NOW Our pattern shop has had a makeover! Now you can get instant access to your favourite patterns from the Simply Sewing collection, alongside our latest releases. Each design comes with a graded PDF pattern in UK sizes 6-20 (US 4-18, EUR 34-38), step-by-step instructions, colour photos and size chart.

t Ad L Dr S

t Ai L n Dr S

SIZES 6-20

US 4 18 EUR 34 48

t b Bl U

t E ns

SIZES 6-20

US 4 18 EUR 34 48

t L a Dr S

t m s

SIZES 6-20

US 4 18 EUR 34 48

See our full collection online now at

bit.ly/simplysewingpatterns

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Win: JANOME sewing machine worth £639 Enter today for your chance to win a brand new Janome M200 QDC computerised sewing machine. o support you on your sewing journey, every sewist knows you need a machine that’s going to grow with you and encourage you to take your hobby to the next level. Whether it’s dressmaking, home sewing, or quilting, the Janome M200 QDC will last you a lifetime. With more functions than a regular machine, the Janome ‘M Series’ have an impressive range of quality tools and accessories such as this extended table, which you’ll find super-handy for quilting, or sewing with bulky fabric. Supporting

you as you learn with 200 built-in stitches (including an alphabet and buttonholes), and an auto de clutch bobbin winder (easy-peasy!) you’ll be stitching your way to a handmade wardrobe in no time at all. Find out more at www.janome.co.uk, and enter our competition to win this amazing prize at www.simplysewingmag.com

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

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20 ways to relax your wardrobe & refresh your home décor HOW TO: Make a patchwork quilt Full Bust Adjustment Sew a gathered skirt

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modern home makes

artist's residence Create a calming, creative space with on-trend finishing touches in painterly watercolour prints. Designers: LORNA SLESSOR Styling: LISA JONES Photography: ADAM GASSON

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D rS p We'll take any excuse to fill our home with beautiful fabrics and prints â&#x20AC;&#x201C; and that includes everyday essentials like this door stop! Made by creating a simple cube shape that's filled with rice or beans, we'll be gifting one of these not-so-boring basics at every housewarming from now on.

Pa C W k Po F Give florals a modern twist with this on-trend geometric patchwork pouffe, made from half-square triangles; we've used a crisp white plain for contrast, but pick out a colour from your chosen print if you like things bright.

modern home makes

Ci C Cu H o Fancy updating your space without spending lots of time and money on a total refresh? Just add a few new cushions â&#x20AC;&#x201C; all handmade, of course. This circle design has quilted lines and a centre button for a luxe look.

Pl N Ha G It doesn't feel quite like home without a bit of greenery, does it? Whether you're an expert plant parent or prefer low-maintenance faux foliage, this simple hanger will display your botanicals of choice at their best. Why not go matchy-matchy with an on-trend leaf print?

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mODERN HOME MAKES

Be I n Qu L Making a quilt from scratch can feel intimidating to patchwork newbies â&#x20AC;&#x201C; but not so with this delightfully simple throw. You'll learn how to piece together strips, match up seams and add a neat bound edge. After this, there'll be no patchwork project you won't want to try!

W l Ha G n With so many beautiful cushions, throws and plants to collect, it can be easy to overlook the part of our homes most in need of a little adornment: the walls! So create your very own stitched masterpiece in the form of this patchwork hanging. The tonal prints and pared-back, minimal shapes will give your space a real sense of calm.

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modern home makes 01

quilt YOU WILL NEED Q White fabric: 80x110cm (30x42in) Q Four different fabrics: 40x110cm (15x42in) each Q Binding fabric: 40x110cm (15x42in) Q Backing fabric: 140cm square (55in) Q Wadding: 140cm square (55in) Q Temporary fabric adhesive Q Matching thread Q Basic sewing kit FABRICS USED The print fabrics used are from the Field & Sky collection by Yao Cheng for Cloud9 Fabrics. Lush Mimosa. Ref: 216501. Scribbles in Blue. Ref: 216701. Emerald Triangles. Ref: 216801. Floral in Indigo. Ref: 216901. To find your nearest stockists visit www.hantex online.co.uk. Wadding for all projects supplied by Sewing Quarter, shop online at www.sewingquarter.com. NOTES Q Use a 6mm ( in) seam allowance. Q Use a walking foot if you have one. Q WOF = width of fabric.

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CUTTING OUT Step one From the white fabric cut: Long background strips: twelve 6x106cm (WOF) (2 x42in). Short background strips: three 6x56cm (2 x22in). Step two From each of the floral and leaf print fabrics cut: Long patterned strips: four 6x106cm (WOF) (2 x42in). Short patterned strips: two 6x56cm (2 x22in). Step three From the blue print fabric cut: Long patterned strips: two 6x106cm (WOF) (2 x42in). Short patterned strips: two 6x56cm (2 x22in). Step four From the multi print fabric cut: Long patterned strips: two 6x106cm (WOF) (2 x42in). Step five From the binding fabric cut: Binding: six 6x106cm (WOF) (2 x42in).

Step three Use a large quilting ruler to cut the joined unit across the strips to make four 10in (25cm) rectangles. 02 Step four Join the rectangles into two pairs of two, making sure that you sew a print end to a white end. You now have two rows. 03 Step five Repeat to make rows two and four with six white long background strips, two long patterned strips in the floral print, two in the multi print and two in the blue print. Step six Repeat with the short patterned and short background strips to make the middle row.

ASSEMBLING THE QUILT TOP Step one Lay the rows out on the floor or a large surface, making sure that the white and print strips alternate on each row. 04 Step two Sew the two bottom rows together, and the top three rows together. Then sew the two halves together to complete the quilt top. Press.

PIECING THE ROWS

TACKING AND QUILTING

Step one To make the top and bottom row, take six white long background strips, two long patterned strips in the leaf print, two in the multi print and two in the floral print. Step two Sew all 12 strips together along the long edges with right sides (RS) together, adding strips to alternating sides each time. 01

Step one Lay the backing fabric wrong side (WS) up on your work surface and place the wadding on top. Place the quilt top RS up on top. 05 Step two Tack using your preferred method â&#x20AC;&#x201C; we used a repositionable tacking spray and tacked our quilt. Step three Lengthen the stitch length on your

modern home makes 03

sewing machine and quilt the throw as you wish â&#x20AC;&#x201C; we quilted straight lines roughly in (1cm) away from the horizontal seams. Step four Trim any excess wadding and backing fabric and press. 06

ADDING THE BINDING Step one Join the binding strips together by placing two strips at 90-degree angles to each other with the RS facing and the raw edges matching. Sew along the diagonal from the top left corner to the bottom right corner. Trim off the excess fabric, press the seam open and then trim off the pointed ends. 07 Step two Fold the long strip in half WS together and press. Step three Place one end of the strip 6in (15cm) in from a corner of the quilt. Make sure you align the binding and quilt edges. Step four Sew the binding to the quilt with a in (6mm) seam allowance, starting 6in (15cm) along from the binding short edge. Stop sewing in (6mm) from the first corner, backstitch to secure and then take the quilt off the machine.

MITRING THE CORNERS Step one Fold the binding up at an angle where the stitching ends. 08 Step two Fold the binding back down along the

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next side of the quilt. Pin in place. Step three Start sewing from the top edge, sewing over the folded corner and continuing down the next side. Step four Repeat until you reach the start of the sewn-on binding. Stop sewing 4in (10cm) from the start of your stitching.

FINISHING OFF Step one Cut off a 4in (10cm) strip from the excess binding and open it out. Step two Lay the original binding flat with the excess binding on top of it, place the cut strip on top so that the short end is lined up with the original binding end. Mark the left side where it joins the excess and cut off the binding excess. Step three Open out the two binding strip ends and place them RS together at a 90-degree angle as you did when joining the strips. Pin in place. Step four Sew the binding ends together from corner to corner. Step five Pull the quilt flat to check the sewn binding is correct, then cut off the excess outside of the seam and finger-press the seam open. Finger-press the binding in half then sew the unsewn binding to the quilt. Step six Press the binding to the WS of the quilt and either slip stitch in place by hand or machine-sew all the way around to finish.

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modern home makes POUFFE

YOU WILL NEED Q White fabric: 80x110cm (31x42in) Q Leaf fabric: 50x110cm (20x42in) Q Floral fabric: 80x110cm (31x42in) Q Fusible interfacing: 130x110cm (51x42in) Q Bean bag filling Q Matching thread Q Basic sewing kit FABRICS USED The print fabrics used are from the Field & Sky collection by Yao Cheng for Cloud9 Fabrics. Lush Mimosa. Ref: 216501. Scribbles in Blue. Ref: 216701. Floral in Indigo. Ref: 216901. For stockists visit www.hantexonline.co.uk NOTES Q Use a 6mm ( in) seam allowance. Q WOF = width of fabric. Q HST = half-square triangle. Q RST = right sides together.

CUTTING OUT Step one From the white fabric cut: Background strips: eight 6x55cm (2 x21 in). Background HSTs: sixteen 16cm (6 in) squares. Step two From the leaf print fabric cut: Patterned HSTs: sixteen 16cm (6 in) squares. Step three From the floral fabric cut: Patterned strips: eight 6x55cm (2 x21 in) strips. Pouffe top and base: two 55cm (21 in) squares. Step four From the interfacing cut: Pouffe side interfacing: four 55x38cm (21 x15in). Pouffe top and base interfacing: two 55cm (21 in) squares.

PIECING THE DIAMOND BLOCKS Step one Each diamond shape is made of four half-square triangle (HST) units. To make fourin-one HSTs, place a white and a leaf print 16cm (6 in) square right sides (RS) together. Step two Sew around all four edges, 6mm ( in) from the raw edge. Cut from corner to corner in both directions. 01 Step three Open the pieces and press seams open to yield four HSTs. Trim each HST to 10cm (4in) square. Repeat to make a total of 48 HSTs. Step four Sew the HSTs into pairs, with the leaf prints meeting in the centre to make a triangle. Press the seams to the left. Step five Sew the HST pairs into four-patch blocks, joining them so the leaf prints meet in the centre to make a diamond. Step six Join the diamond blocks into rows of three. Press. 02

PIECING THE ROWS Step one Sew a floral fabric 6x55cm (2 x21 in) strip along the long edges of the diamond rows.

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Step two Add a white fabric 6x55cm (2 x21 in) strip either side to complete the side pieces. 03

ASSEMBLING THE POUFFE Step one Press the pouffe side interfacing to the wrong side (WS) of all four side pieces. Repeat with the pouffe top and base interfacing and the floral squares. Step two Draw around all four edges on the reverse of each piece, 6mm ( in) from the edge. The intersecting lines will mark the corners. Step three Lay out the six pieces, referring to the image for placement. Sew the three horizontal sides together, starting and stopping where your marked lines intersect (6mm from the ends). Then sew the top and base squares to the remaining edges and join the last side to the bottom. 04 Step four Join the bottom of the two horizontal sides to the vertical edges of the base square, once again starting and stopping where the markings intersect. Step five Sew the ends of the two sides to the ends of the side panel at the bottom. Step six Repeat, joining the remaining edges, making sure to leave one open for a turning gap. Step seven Turn the pouffe RS out, carefully poking out the corners with a pointed tool. Step eight Fill with bean bag stuffing and slip stitch the gap closed with a coordinating thread.

modern home makes 01

WALL HANGING YOU WILL NEED Q White fabric: 64x110cm (18x42in) Q Floral print fabric: 17x64cm (6 x26in) Q Leaf print fabric: 4x100cm (1 x40in) Q Blue print fabric: 4x100cm (1 x40in) Q Wooden dowel: 55cm (22in) Q Length of cord Q Curve and arc templates Q Matching thread Q Basic sewing kit FABRICS USED The print fabrics used are from the Field & Sky collection by Yao Cheng for Cloud9 Fabrics. Lush Mimosa. Ref: 216501. Scribbles in Blue. Ref: 216701. Floral in Indigo. Ref: 216901. For stockists visit www.hantexonline.co.uk NOTE Q Use a 6mm ( in) seam allowance.

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CUTTING OUT

ASSEMBLING THE PIECED FRONT

Step one From the white fabric cut: End border strips: four 6x50cm (2 x20in). Side border strips: two 32x11cm (12 x4 in). Inner border strips: two 4x50cm (1 x20in). Circle border: four 16cm (6 in) squares. Tabs: two 8x15cm (3x6in) tab pieces. Step two From the floral print fabric cut: Circle: four 16x16cm (6 x6 in). Step three Use the arc template to cut a corner from each white and floral 16x16cm (6 x6 in) square. Discard the inner part of the white squares and the outer part of the floral squares. Step four From each blue and leaf fabric cut: Patterned border strips: two 4x50cm (1 x20in).

Step one Join a white side border strip either side of the circle panel. Press and put aside for now. Step two Sew a white fabric end border strip to a blue border strip along the long edge. Repeat with the other white end border strips and blue/ leaf print strips. Step three Join a blue and leaf strip set together so that the patterned fabrics are in between white strips. Sew a white fabric inner border strip to each remaining blue strip edge. 03 Step four Sew the strip panels to the top and bottom of the circle panel, with the inner border strip closest to the centre. 04 Step five Neaten and square up if necessary.

PIECING THE CIRCLE

FINISHING OFF

Step one Take one white fabric circle border and one floral fabric quarter circle and crease the centre of each of the shapes. Place the arc on top of the curve right side (RS) facing, matching the creases and ends. Pin. Ease all of the curve. Pin. 01 Step two With the white fabric on top, sew the pieces along the curved edge. Step three Press the seam open and press the unit flat. Repeat to make four curve units. Step four Sew the curve units into pairs, matching curved seams, then sew the pairs together to make a circle. 02

Step one Take the two tab pieces and fold over the long edges by 6mm ( in). Topstitch in place. Step two Fold in half, lining up the raw edges, and position the tabs on top of the front panel, again lining up the raw edges. Step three Place the backing piece and front panel RS together and pin/clip in place around the edge, sandwiching the edges of the tabs as you go. Step four Sew around the edge, leaving a small turning gap at the bottom. Turn RS out, fold the gap edges inwards and topstitch around the edge. Step five Insert the dowel. Tie cord to the ends.

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modern home makes Plant hanger

YOU WILL NEED Q Leaf print fabric: 22x33cm (8 x13in) Q Fusible interfacing: 22x54cm (8 x21in) Q Cord: 120cm (47in) length Q Wooden ring (optional) Q Matching thread Q Basic sewing kit FABRICS USED The print fabric used is from the Field & Sky collection by Yao Cheng for Cloud9 Fabrics. Lush Mimosa. Ref: 216501. For stockists visit www. hantexonline.co.uk NOTE Use a 6mm ( in) seam allowance.

CUTTING OUT Step one Measure one half of the circumference of your plant pot, from the very top edge. Add an extra 5cm (2in). Then measure from top to bottom, and add an extra 5cm (2in). Ours measured 17x22cm (6 x8 in). Step two Cut four pieces of print fabric and two pieces of fusible interfacing to this measurement.

CONSTRUCTING THE HANGER Step one Fuse the two interfacing pieces to the reverse of two print fabric pieces, following the manufacturer’s instructions. Next, place them right sides (RS) together and sew along three edges, leaving one open. 01 Step two Open out and insert the plant pot comfortably inside. Fold the seam flat, butting it up to where it sits comfortably against the plant pot. Mark a straight line roughly 1cm ( in) from the plant pot – ours was approx 5cm (2in) from the edge of the seam. Repeat on the other side. 02 Step three Pin down the lines to keep them in place, then remove the pot and stitch directly across each line. Trim the corners, leaving a 6mm ( in) seam allowance. Step four Repeat this process with the two lining fabric pieces. Step five Turn the interfaced exterior RS out and insert the lining inside. Line up the top edges and pin or clip together. 03 Step six Sew along the edges to attach the two pieces together.

ADDING THE CORD Step one Fold the top edge over by 3cm (1in), so the lining fabric shows on the outside. Fold again, concealing the raw edge. Step two Use a removable fabric marker to make four marks right on the top fold. Space the marks evenly apart and try to space them evenly with the seams, too. Step three Unfold the fabric hanger and use a pin

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to work out where your markings are positioned on the exterior. Mark again in these points. Step four Use a buttonhole foot to sew a buttonhole roughly 2cm ( in) in length on each mark. Carefully cut the centre of each using a seam ripper – place a pin at the end of the buttonhole to avoid cutting through the stitches. Step five Cut two lengths of cord, depending on how long you want your hanger to be. Ours are 120cm (47in) long. Step six Fold over the edges of the hanger twice again, so the buttonhole stitching on the interior now face upwards on the top fold. Loop one end of the cord upwards through the top of the buttonhole from inside the fold, leaving at least 20cm (8in) of the other end. Thread the wooden ring onto the top end of cord, then insert the end of the cord down into the next buttonhole along. Step seven Meet the two ends of the cord and overlap by roughly 5cm (2in), so the sides are butted together. Firmly zigzag stitch together. 04 Step eight Pull the wooden ring upwards so that the joined ends of the cord now sit comfortably underneath the fold of the fabric hanger, on the opposite side to where it is looped through the buttonholes. Step nine Repeat steps six to eight with the second piece of cord, looping through the opposite two buttonholes.

modern home makes 01

Door stop YOU WILL NEED Q Multi print fabric: 14x90cm (5 x35in) Q Blue fabric: 20x10cm (8x4in) Q Interfacing: 14x90xm (5 x35in) Q Rice, beans or an alternative heavy filling Q Matching thread Q Basic sewing kit FABRICS USED The print fabrics used are from the Field & Sky collection by Yao Cheng for Cloud9 Fabrics. Scribbles in Blue. Ref: 216701. Emerald Triangles. Ref: 216801. To find your nearest stockist visit www.hantexonline.co.uk NOTE Use a 6mm ( in) seam allowance.

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CUTTING OUT Step one From the multi print fabric cut: Doorstop outer: four 14x15cm (5 x6in). Doorstop top/base: two 14x14cm (5 x5 in). Step two From the interfacing cut: Outer interfacing: four 14x15cm (5 x6in). Top/base interfacing: two 14cm (5 in) squares.

PREPARING THE HANDLE Step one Fold the blue fabric strip in half right sides (RS) together, so the long edges align. Pin, then sew along the edge to make a tube. Step two Press the seam open, then turn the tube RS out. Press flat, so the seam is in the centre. Step three Topstitch 6mm ( in) from either edge. Fold one raw end over by approx 2cm ( in) and stitch down. Repeat on the other end.

Sew the top and base squares to the remaining edges and join the last side to the base. 02 Step four The square with a side piece on either side will create the top of the door stop. Pin one end of the handle roughly 3cm (1in) in from the raw edges. 03 Step five Neatly topstitch the handle in place. Step six Join the bottom of the two sides to the vertical edges of the base, once again starting and stopping where the markings intersect. Step seven Sew the ends of the two sides to the ends of the side panel at the bottom. Step eight Repeat, joining the remaining edges but leaving one open for filling. Step nine Turn RS out. Poke out the corners. Fill with rice/beans then pin the gap closed. 04 Step ten Slip stitch the turning gap closed.

CONSTRUCTING THE DOORSTOP Step one Fuse a piece of interfacing to each corresponding fabric piece, according to the manufacturerâ&#x20AC;&#x2122;s instructions. Use a pressing cloth to protect your fabric and iron. Step two Mark the seam allowance on the reverse of each piece. This is to mark the corners. 01 Step three Lay out the six pieces, referring to the image. Sew the three 14x15cm (5 x6in) sides together, starting and stopping where your marked lines intersect (6mm from the ends).

TIP: block effect

urâ&#x20AC;&#x201C; o l o c a in e n o i t c e Creat s each g n i k int. a r p r o by m r colou t n e r e f a dif WWW.SIMPLYSEWINGMAG.COM 29

modern home makes 01

circle Cushion YOU WILL NEED Q Blue print fabric: 40x40cm (16x16in) Q Backing fabric: two 45x90cm (18x36in) Q Wadding: two 45x45cm (18x18in) Q Toy stuffing Q Two self-cover buttons Q Circle template Q Erasable fabric marker Q Matching thread Q Basic sewing kit FABRICS USED The print fabric used is from the Field & Sky collection by Yao Cheng for Cloud9 Fabrics. Scribbles in Blue. Ref: 216701. For stockists visit www. hantexonline.co.uk NOTE Use a 6mm ( in) seam allowance. FINISHED SIZE Approx 100x80cm (40x32in).

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CUTTING OUT

MAKING THE CUSHION

Step one From the blue print fabric cut: Cushion front and back: two using the template. Buttons: two small circles, each one a few centimetres larger than your buttons. Step two From the lining fabric cut: Cushion backing: two 45x45cm (18x36in).

Step one Place the two quilted circles RS together and sew around the edge, leaving a turning gap. Step two Snip notches around the sewn edge of the cushion, being careful to not cut into any of the stitching. These notches will allow the circle edges to sit flat without puckering. Step three Turn the cushion RS side out. Fill with toy stuffing, ensuring an even distribution. Do not overfill â&#x20AC;&#x201C; you want the cushion to be comfortable! Step four Thread a long needle and tie a large knot at one end. Sew from the centre of the cushion front to the centre of the cushion back, pulling the two sides together. These stitches are to define the centre slightly so don't pull too hard. Step five Repeat a few times to pull the centre of the cushion inwards and knot to secure.

PREPARING THE CUSHION PIECES Step one Lay the backing fabric wrong side (WS) up flat on your work surface and place the wadding on top. Place one of the blue print circles on top, with the right side (RS) facing up. 01 Step two Tack using your preferred method â&#x20AC;&#x201C; we used a repositionable tacking spray to keep the three layers together.

QUILTING THE FRONT AND BACK Step one Use an erasable fabric marker to draw a line directly down the centre. Repeat, drawing a line directly through the centre horizontally. Repeat again, drawing two diagonal lines at 45-degrees. Continue, adding an extra line between each marked 45-degree line. Step two Use a walking foot on your sewing machine to neatly quilt across each line using a coordinating thread. Cut around the edge to finish one cushion side. 02 Step three Repeat to make an identical circle.

ADDING THE BUTTON Step one To make the self-cover buttons, sew a large running stitch around the edge of each circle, leaving a length of thread either end. Step two Place the button front on the wrong side (WS) of the fabric circle and pull the ends of the thread to gather the fabric around the button. 03 Step three Snap the plastic ring in place to trap the ends of the fabric. Step four Hand-sew a button onto either side of the cushion to finish. 04

Add greenery to your dining table and stitch Laura Strutt's botanical napkins with a monstera leaf motif. YOU WILL NEED Q Cotton napkins Q Stranded cotton in two leaf shades and two contrast shades Q Embroidery hoop: 11.5cm (4 in) Q Embroidery needle Q Embroidery scissors Q Thread conditioner (optional) Q Basic sewing kit

M eY r o i a Af E N n!

FINISHED MEASUREMENTS Q Motif measures approx 10x10cm (4x4in). NOTES Q These designs can be worked on store-bought napkins or you could make your own napkins from fabric. Q Keeping the back of the work as neat as the front will help to give a professional finish. Q Download the templates from www.simplysewingmag.com/ downloads Q Stitch using six strands of stranded cotton.

WORKING BACKSTITCH Bring the needle up and then back down one stitch length behind this. Bring it up again one stitch length in front of the point at which it first emerged. Repeat as required.

WORKING FRENCH KNOTS Bring the needle up to the surface in the desired knot position. Holding the stranded cotton taut, wrap it two or three times around the tip of the needle. Continue holding the floss under tension as you pass the needle back down through the fabric close to the entry point. The floss will pull through the wraps and they will form a knot that sits on the surface of the fabric.

EMBROIDERING THE NAPKINS This is one of 35 stylish embroidery projects in Modern Embroidery by Laura Strutt, published by CICO Books (ÂŁ12.99). Photos by James Gardiner ÂŠ CICO Books. www.makeetc.com

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Step one Secure the napkin in the hoop to create a taut stitching surface. Step two Transfer the template to the napkin. Following the stitch guide, work the design. Step three Once complete, remove the napkin from the hoop and trim the thread ends. Press on the reverse with a pressing cloth. Step four Repeat for the second napkin.

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THE autumn DRESS Start your new-season sewing with The Autumn Dress, a tunic style with cuffed ff sleeves, button tabs and two hem options.

TH aUTUMN DR SS We sewists love a change in the seasons, don't we? It's the perfect excuse to look through our stash of fabrics and patterns and start dreaming of all the lovely things we'll make in the coming months. So we just had to name this issue's coverstar pattern The Autumn Dress; although we'll wear ours all year round, it's also just the kind of dress we need at this time of year. This simple, tunic-inspired style has cuffed sleeves that can be worn full-length, or rolled up and secured with a button tab – ideal for the unpredictable autumn weather! Share your new-season makes tagged #simplysewingmag

NEW SIZE RANGE The pattern can be made in sizes UK 6-24 (US 4-22, EUR 34-52).

YOU WILL NEED Q Fabric: Dress A: 3.6mx115cm (4ydx45in), 3.2mx140cm (2 ydx55in) Dress B: 3.7mx115cm (4ydx45in), 3.3mx140cm (3ydx55in) Q 4 x buttons: 10-12mm Q Interfacing: 60x120cm (24x48in) Q Matching thread Q Basic sewing kit

NOTE Use a 1.5cm ( ⁄ in) seam allowance throughout unless otherwise stated.

TAB DETAIL Sleeves can be worn rolled up and secured with a button tab.

FABRIC SUGGESTIONS Light to medium cotton, linen, rayon or crepe. Match the weight of the interfacing to the fabric.

GETTING STARTED Unfold the pattern and find the line style for your size on the pieces using the key provided. Follow these lines to cut the pattern out – it can be helpful to mark your size with a highlighter. It's advisable to make a toile to check the fit of the dress and make any adjustments needed before cutting it out of your main fabric.

Ha c ur he de ve pli i wit he l p on .

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TWO HEM STYLES Pattern includes two curved hem options finished with a facing.

TH AUTUMN DR SS wear it with

Mix florals and texture with this denimlook cotton print, www.sewingquarter.com

Au u N u Linen Texture in Sunflower, www.sewingquarter.com

Create a new-season capsule in a fall-inspired palette. Mus r e lo an gr rai ibbon ar dream c b , £2 .50, ww . hi es .co

Indigo Sky, www. artgalleryfabrics.com

Dancing Petals, www.hantex.co.uk

FABRIC INSPIRATION

Tortoiseshell beads are a classic – and the chunkier, the better. £29.95, www. whitestuff.com

We reckon we could fit everything we need for work and a handsewing project in this roomy tote bag, £46, www.oliverbonas.com

stay golden Embrace the season's ever-changing colours with fabrics in warm rust, ochre, monochrome and indigo shades.

Unexpected chill in the air? We've got it covered – and colourful, £25, www.whitestuff.com

Linen Look Zig Zag, www.sewingquarter.com

Weekends are for sewing, brunching, and comfy trainers, www.primark.com

Pocket Full of Posies, www.hantex.co.uk

Linen Look Black Spiral, www.sewingquarter.com

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A breezy cotton double gauze is a dream to wear on warmer autumn days, www.minervacrafts.com

Headin ou for evenin ? Jus add h ele ule , w . primar .co

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refashion

casual fridays Make an off-duty staple from a pair of men's slacks with Portia Lawrie's on-trend pinafore dress refashion

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refashion 01

YOU WILL NEED Q Men's trousers Q 2 x eyelets/rivets Q Bias tape: 1.5m (1 yd) Q Matching thread Q Basic sewing kit SUGGESTED FABRICS Use a lightweight pair of men’s trousers in twill, linen, cotton, or lightweight denim. NOTE When selecting trousers to refashion, the garment will need to have a hip measurement that is at least 8-10cm (3-4in) larger than your own. Alternatively, additional panels can be added at the side seams during the making process to accommodate your hips if the garment is not wide enough.

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Designer Portia says: "The dungaree dress looks set to stay for some time yet. Its popularity shows no signs of abating. Here we show you how to refashion one from a pair of men's trousers!"

CUTTING OUT Step one Carefully cut up the inseam of your trousers, close to the seam lines, into the crotch seam as pictured. 01 Step two Cut straight up and through the crotch seams front and back (navigating around the zip) so you split the trousers into two sections. Each comprising of a front leg and a back leg section. Lay out flat and cut across horizontally as shown in the image (from the base of the front crotch curve, straight across). 02 Step three You will now have two leg pieces. Fold them in half along what was the original side seam. You will notice that one side is slightly wider than the other. This means that the seam which will eventually be the centre front/centre back (CF/CB) seam on the pinafore is actually off-centre. Trim away the excess of that side in line with the narrower one. Now the original side seam will be central and can become a CF/CB seam. 03 Step four With each section still folded along that seam, flip them around so that the original ankle/hem of the trousers is at the top. From here cut a curve that is approx 10in deep, as pictured, to form the bib and ‘underarm’ section

of the dungarees. 04 Step five The back section of the bib needs to be shorter as it will sit below your shoulder blades. It will also be narrower than the front. Cut away excess from the top of the bib part as pictured. There are no incorrect measurements at this stage as you can adjust at various stages as you go along. 05

MAKING THE DUNGAREE DRESS Step one Using scraps of fabric to form straps, tack the dungaree dresss together. Try it on and check the fit is as you would like it to be. At this stage you can establish the length of the straps, where you want the front and back bibs to sit and whether you need to adjust the curve at the sides. When you are happy with the fit, make any necessary adjustments. 06 Step two Finish the raw edges using a zigzag stitch or an overlocker and sew up the side seams. The side seam may have incorporated a small amount of the original crotch curve, and so the side seam/hem may stick out a little. Eliminate this by taking in a little more fabric at this point as pictured. 07 Step three Pin the bias tape to the right side (RS) of the underarm curve and bib sides. Sew, press away from the garment and understitch. 08 Step four Turn the bias tape to the inside to create a facing and topstitch the folded edge of the bias in place to secure. 09

refashion 04

Step five Finish the top edge of the bib section front and back and also the hem. Make thin straps from the scraps you cut away previously and attach to the back bib section as pictured. Stitch in place securely. 10 Step six Add large eyelets to the top edge of the front bib. We also added a patch pocket and some rivets for a design detail. 11 Step seven Tie the skinny straps through the eyelets to attach. 12 Step eight Turn the hem to the wrong side by 1cm ( â &#x201E; in) and press then stitch in place.

MORE IDEAS TO TRY Add a kangaroo pocket, patch pocket or inseam pockets. You may be able to use patch pockets and/or pocket bags from the original garment. Try alternative strap widths and fastenings such as clips or buttons. Use lightweight fabrics for summer. Adapt for winter by using a garment made from tweed, wool, cord or heavier denim and wear with thick tights. Remove the buttons and add new contrasting or matching ones. Make sure that the new buttons are the right size for the original buttonholes.

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Fab

cs Studio E: So Much Fun, Hugs & Kisses, Riley Blake Designs: Lovebug

www.thefabricloft.co.uk

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workshop

FULL BUST ADJUSTMENT If you find it tricky to get the right fit, you may need to do a Full Bust Adjustment (FBA) – try it with our step-by-step FBA guide. Ever looked at a sewing pattern adjustment tutorial and felt the fear? Our Technical Editor Roisin McKenna explains how to do a full bust adjustment in simple terms.

YOU WILL NEED Q Calico or other inexpensive fabric (see notes) Q Pattern paper Q Pattern master or ruler Q Paper scissors Q Coloured fineliners Q Scotch magic tape Q Mechanical pencil or sharp pencil Q Tracing wheel (optional) NOTES Q These instructions are for any bodice with an armhole dart or side seam dart. Although the principal of bust adjustments are the same, if your dart is in a different position, your bodice has princess seams, no darts or a combination of darts then the process will be slightly different. Q We recommend making at least two samples throughout this process. Use your pattern envelope as a guide for the amount of fabric needed. You won’t need to cut any pieces other than the bodice front and back so won’t need extra fabric for sleeves, collars, pockets, trims, etc. Use a fabric that is a similar weight and drape to your final fabric to get an accurate idea of fit and hang. Q Scotch magic tape is a matte tape that you can draw on and can be removed easily without ripping the paper. Any tape will work, but use clear tape sparingly as it is difficult to mark lines on. Q *Instructions are provided to adjust Simply Sewing patterns. If you are using another pattern brand the process will be the same but it is worth contacting them to ask how far from the dart tip the bust apex is positioned. We have used 2.5cm (1in) as a guide as this is a standard distance, however some brands may position their darts closer to or further away from the bust apex.

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DO I NEED TO DO A FULL BUST ADJUSTMENT? Most patterns are drafted to a B cup. A Full Bust Adjustment (FBA) will increase the size of the dart and add more room (width and length) into the pattern to accommodate a larger bust. Signs that you need to do an FBA include: Q Your bust measurement is a larger size than the measurement for your waist and hip measurements on the envelope size chart. Q The waist line is pulling so it sits higher on the front than it does on the back. Q The bodice front doesn’t fit correctly over your bust. There may also be visible pulling across the bodice.

CALCULATE YOUR ADJUSTMENT AMOUNT Wearing your usual bra style, measure your bust at the widest point, ensuring the tape measure is parallel to the floor. Make a note of this

measurement. Compare this measurement to the measurements on the envelope size chart – if your bust is 5cm (2in) or more larger than the size that your other measurements fall into then you will need to do an FBA.

MAKING A TOILE Make a quick sample of the bodice before beginning in the size indicated by your measurements on the envelope back. You will need to stitch the front and back bodice pieces together at the side and shoulder seams to get an idea of the fit. It isn’t necessary to finish any of the seams or add the facings to your sample and you can use a longer stitch length to speed up the process. Once you have your sample you will see what adjustments need to be made. It may help to look in a mirror or ask a friend to help you to identify any fit issues.

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workshop 05

MOVING THE DART Bust adjustments are simplest when the dart is in the side seam. Our dart is in the armhole so the first step is to move to the dart to the side seam. If your dart is already in the side seam skip to the FULL BUST ADJUSTMENT section. Step one Trace off the bodice front including the grainline, all notches and the dart. Step two On Simply Sewing patterns, the bust line is indicated by the top notch at the side seam, so you can draw a line perpendicular to the centre front connecting to this notch. If you are not using a Simply Sewing pattern find the bust apex in the next step. 01 Step three For patterns with no bust line indicator, measure the width of the dart and mark the centre point at the armhole edge (the widest part of the dart). Draw a line from this centre point to the dart tip. Darts are positioned approx 2.5cm (1in) from the actual bust apex (your nipple point) – this is so that the bodice doesn’t form a point at the bust. Step four We are now going to find the original bust apex. For Simply Sewing patterns, place your ruler along the centre line of the dart and continue the line until it meets the horizontal bust line. The point where the lines meet is the bust apex – mark this with a cross. 02 Step five For other patterns, continue the centre line of the dart past the dart tip by 2.5cm (1in)*

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(see notes). Mark this point with a cross. Step six Redraw the dart legs so that the tip of the dart extends to the marked bust apex cross. The widest point of the dart will still be in the same position. We have shown this in blue. 03 Step seven We will now reposition the dart into the side seam. Measure 6-8cm (2 ⁄ -3 ⁄ in) down from the top of the side seam and make a mark. Connect this mark to the bust apex cross. 04 Step eight Cut out the pattern piece. Close the dart and tape in place, creating a tent shape. Step nine Cut along the newly marked side seam line, stopping at the bust apex cross. This will release the paper and move the dart to the side seam. Tape a scrap of paper behind the opening, remark the dart legs so they are clear and mark the centre of the dart as before. You may also like to fold along the dart centre line and true the dart edges by cutting through the folded excess paper at the side seam. 05

FULL BUST ADJUSTMENT Step one Draw a straight line from the bust apex cross to the bottom of the pattern, parallel to the grainline. 06 Step two Draw another line from the bust apex cross to the armhole notch, shown in blue. If there is no armhole notch on your pattern, measure the front armhole and mark the halfway point. You will also need to mark the

seam allowance around the notch. 07 Step three Cut through the lines you have just drawn, starting at the base of the pattern and cutting up through the bust apex and then up through the angled line towards the armhole. Don’t cut all the way to the edge – stop cutting 2 millimetres away from the seam allowance mark at the armhole. 08 Step four Snip into the other side of the seam allowance mark towards the seam allowance marker, stopping 2 millimetres from the line. This creates a ‘hinge’ so that you can adjust the pattern. 09 Step five Cut through the centre line of the side seam dart, leaving 2 millimetres at the tip of the dart uncut to act as a ‘hinge’. 10 Step six Carefully lay your pattern over a larger piece of pattern paper. 11 Step seven Open the vertical line from the bust apex to the base of the pattern by the amount of the bust adjustment you require. Remember that as this pattern piece is only half of the whole bodice front you will only need to add half of the overall adjustment amount. We opened our pattern by 2.5cm (1in) which is half of our total adjustment. Tape the pattern in place, ensuring that the width of the vertical opening remains the same along the length. Step eight You will notice that the right-hand side of the bodice is slightly higher than the

workshop 08

left-hand side which has been opened out. In order to fit this, we will bring the left-hand side of the pattern down. There are two ways to align the hemline again. The first method which we have shown here is to continue the centre front line down and square across to the original hem line. Alternatively, mark a straight line from the bust apex cross to the centre front of the bodice so that centre front and the marked line are perpendicular. Cut along this line and move the cut away piece down until the hemline is in line with the left-hand side, ensuring the grainline remains straight. 12 Step nine The armhole may need trueing to create a smooth curve around the original dart.

LEAVE THE DART IN THE SIDE SEAM Our original dart was in the armhole but you can choose to leave it in the side seam. This section explains how to complete the dart in the side seam. Step one To leave the dart in the side seam you will need to re-mark the dart to bring the tip away from the centre. Measure the width of the dart between the legs and draw the centre line of the dart from this point to the apex cross. Step two Measure 2.5cm (1in)* (see notes) from the apex cross along the dart centre towards the side seam and make a mark. Step three Join the dart legs to this mark. This

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mark is the new dart tip, which is sitting away from the actual bust apex so that it doesnâ&#x20AC;&#x2122;t give the bust a pointed shape. We have shown this in green. You can now trace off another copy of the pattern so that you have a nice clean copy to work with. 13

this point. This will be the tip of the dart. Now redraw the dart legs, starting at the original dart leg ends and meeting at the tip of the dart marking. 16 Step eight This is the final pattern. Trace off a copy of the final pattern.

MOVING THE DART TO THE ARMHOLE

MAKING A SECOND TOILE

Step one Trace off a copy of the pattern. This will avoid any confusion with the multiple lines we have drawn! Step two Mark the original dart opening onto the paper using the original pattern. Align the underarm seam of the traced pattern with the original pattern and mark the position of the left-most dart leg with a small dash at the edge of the paper (donâ&#x20AC;&#x2122;t mark the whole dart!). You may need to pivot the new pattern to align the curve with the original armhole curve. 14 Step three Join the original dart marking to the bust apex. Step four Fold the side seam dart closed and tape in place. This will create a tent shape. Step five Cut along the newly drawn armhole to apex line to release the dart into the armhole. Step six Place a scrap of paper behind the open dart and tape in place. Mark the centre line along the dart. 15 Step seven Measure 2.5cm (1in) along the line (from the apex towards the armhole) and mark

Step one Make a toile using your new bodice front. Check the fit and make any adjustments. Transfer any changes to the pattern.

FINAL STEPS Step one As we have added in 5cm (2in) to the total width of the front bodice we will also need to add 5cm (2in) width to any pattern pieces which join the bodice front widthways, such as the front facing, waistband or skirt pieces. Remember that if your waistband/skirt piece is cut on the fold you will only need to add half of the adjustment amount. If you have a facing, you will also need to alter the armhole curve of the front piece so that it matches the trued curve of your new front bodice. Step two We did not add any length to the side seam or alter the shoulder seam, and therefore the back bodice and back bodice facing do not require any adjustments. If you decided to make adjustments to your final toile remember to alter the back bodice and facing pieces as well.

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THE pencil skirt

Sew a classic you'll wear for years with Delia Creates' The Pencil Skirt, a high-waisted skirt with a lining and back pleat detail.

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nd b leaf r a e , v n o o ati r ed i Turn h p s s i n n i fi g stylin share your tagged s o sure t kirt with u ag S m Pencil plysewing #sim

TH P NCI SKIRT The time it takes you to sew up Delia Creates' 50s-style Pencil Skirt will be time well spent: this investment piece will be in your wardrobe for years. With a fitted shape, waistband, lining and back pleat, it's got all the pro details you'd expect from a classic skirt – and is a real skills-booster, too! Share yours tagged #simplysewingmag

YOU WILL NEED Q Main fabric: 2mx115cm (2 ydx45in) Q Lining fabric: 1.5mx115cm (1 x45in) Q Iron-on interfacing: 50x90cm (20x35in) Q Invisible zip: 22-30cm (9-12in)

CLASSIC DESIGN A timeless pencil skirt style with a fitted waistband and back pleat.

Q Zip foot Q Invisible zip foot (optional) Q Blind hem foot (optional) Q Tailor's ham (optional) Q Erasable fabric marker Q Matching thread Q Basic sewing kit

NOTE Use a 1cm ( ⁄ in) seam allowance.

FABRIC SUGGESTIONS

FULLY LINED Finished with a lining for a neat, professional look.

Q Main fabric: suiting, chambray, linen, corduroy, lightweight wool or woven apparel fabric. Quilting cotton will work, but apparel fabrics produce a more polished finished garment. Q Lining: lightweight polyester. Q Interfacing: light to mid-weight, depending on the weight of the main fabric.

Boos ou ki l wit inin , aist n an c lea .

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LEARN TO SEW Master adding a waistband, zip fastening, lining and back pleat.

TH P NCI SKIRT wear it with A bold houndstooth will make a skirt with a 60s vibe, www.minervacrafts.com

Wo k Sm r Check Suiting Orange, www.minervacrafts.com

Cotton Leopard Fabric, www.sewingquarter.com

Style up the 9 to 5 in sleek neutrals and bright tights.

Pair a pencil skirt with a pussybow blouse for classic office chic, www. marksandspencer.com

Add an unexpected twist to a smart outfit with yellow hosiery, uk.accessorize.com

Check Suiting Sand, www.minervacrafts.com

FABRIC INSPIRATION

checks, please This timeless skirt suits any fabric, whether you favour a classic houndstooth, largescale checks – or even leopard print.

Ribbing adds texture to a plain grey knit, www. marksandspencer.com

Poet, www.hantex.co.uk Swap delicate studs for a statement resin pair, www.oliverbonas.com

Pure Wool Crepe Suiting, www.minervacrafts.com

W lkin al i eas cushione br ue , £5 , w . whi es .co

Editor, www.hantex.co.uk

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A laptop-sized backpack (with ample room for snacks) is a commuter's best friend, £35, uk.accessorize.com

Pick a traditional Prince of Wales check for a heritage feel, www.minervacrafts.com

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MY SEWING WORLD By Lisa Comfort Sew Over It's Lisa Comfort is swapping black for mood-boosting bold shades for a colourful winter wardrobe. o you make your own clothes? I’ve loved dressmaking since I was a little girl, and in 2011 made it my mission to spread the love of sewing to as many people as I can, setting up my fabric and pattern business, Sew Over It. With our mix of modern and vintage-inspired patterns and online sewing classes, we love sharing the joys of dressmaking and creating your own unique wardrobe. Fellow sewers know that summer, with holidays, picnics in the park and trips to the beach, provides endless opportunities for making and wearing fun, stylish summery pieces. When September hits, the sun starts to fade and the temperature begins to drop, it can be easy to lose your sewing motivation (or 'sew-jo', as we like to call it!). But there’s no reason that sewing your own fashionable wardrobe in autumn and winter shouldn’t be just as exciting as it is in the summer. So, I thought I’d share my tips for having fun making and dressing handmade in the cooler seasons – and it includes colour, colour and more colour!

KEEP IT BRIGHT Lots of vibrant shades are a must in the summer, but our wardrobes can all of a sudden turn dark when the weather gets colder. I say piffle to that! I use colour to lift my spirits and when it’s cold and dark outside – bold and bright dressing keeps me happy. Rich colours are my go-to in autumn, with delicious reds, ochres and mustards on high rotation. NO BLACK COATS Black is a classic and it definitely has its place in my wardrobe, but when it comes to coats, bright is better! When you look at the crowds of people funnelling out of the London underground on a late autumn morning, it’s a dull sea of black and grey. Boring! The beauty of being able to sew your own clothes is that you can make something completely different from what you can find on the high street, and that’s especially liberating when it comes to outerwear. I’ve been completely inspired by TV show The Marvellous Mrs Maisel lately, and leading lady Midge’s wardrobe. She wears these gorgeous jewel-toned coats in stunning 1950s silhouettes. Oh my heart! I love shapes

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Try our new onli www.sewove ne sewing classes at ritstitchscho ol.co.uk

"Rich colours are my go-to in autumn – reds, K?DNAO =J@ IQOP=N@O

t I' ll a h w e r a s e n to l e Pastel and jew winter. is th in r a e w r te be making ou

s "My red Cigarette Pant are fun yet still perfect BKN PDA KB ?A from the 1960s, too – our 60s-inspired Chloe Coat would be super stylish made in a bold hue, or even a statement print.

Trousers don't have to be black or neutral! Try making our Ultimate Trousers (below) or Cigarette Pants (above) in a colour or print.

Our Meredith Dress made in a gorgeous burnt orange hue – one of my favourite shades for autumn!

BE BRAVE WITH COLOURFUL TROUSERS Just like with winter coats, we’re so used to trousers being black that maybe we forget they can be any other colour. My top tip? Try making them in red! They’ll cheer up any dull day and are guaranteed to be a conversation starter. Definitely one of those moments to declare “I made them myself!” My red Cigarette Pants are fun yet still perfect for the office – you can try making them yourself with the online class on our new platform, Stitch School (www. sewoveritstitchschool.co.uk). LAYER UP There’s no reason you can’t wear lots of your handmade summer pieces in autumn with a little bit of clever layering. When the weather turns cooler, I wear thermal vests and tights under my me-made dresses, with a cardigan over the top to keep my arms warm. I love high-waisted dresses and trousers, so I designed my own range of cropped cardis to pair with them, in pastel brights and autumnal greens, reds and burgundies (available at www.sewoverit.co.uk). If you get extra chilly, roll-neck jersey tops also make great layering pieces to wear under your dresses, so don't forget to make a few of these for transitioning your summer frocks and blouses into autumn and winter. Just see it as a fab opportunity to wear more of your handmade clothes – all at the same time!

Keeping me inspired...

I can' t wait fo r my visit to Mumbai and Dehli next yea r.

O�� vouri � lace � orl I�di , an I’ exci e to b� la nin i to Mum an Dehl for 2020. (I igh b� hot raphin s � �e a ern hils I’ er� a e !). I � � ic colour �� I�di – brigh pink , rn orange an war ed – an I’ f elin s nspire to add es� sump ou hade to handmad� au m ardrob�. Thi ea�, blac� nishe f�o e�n � !

Love these cheerful hanging decs – for more home ideas OAA SSS HEO=?KIBKNP ?KI

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JUST

£9.99! *

Boost your patchwork and quilting skills with 34 step-by-step tutorials and projects!

ORDER ONLINE www.buysubscriptions.com/ultimatequilting or call 03330 162 138† AND QUOTE ‘THE ULTIMATE GUIDE TO QUILTING 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.

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STITCH y r a libr

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How to make sure you won't forget your passport? Make Mollie Johanson's cute case with simple ladder stitch embroidery.

La D St T

add r STITCH 01

LEARN THE STITCH 04

USE THE STITCH

YOU WILL NEED

WORKING LADDER STITCH

Q Quilting cotton: 20x25cm (8x10in) Q Contrasting quilting cotton: 30x20cm (12x8in) Q Linen fabric: 20x25cm (8x10in) Q Stranded cotton in complementary shades Q Embroidery hoop Q Matching thread Q Basic sewing kit

Step one Work from top to bottom on two parallel lines. Come up on the left side and go down on the right, coming up just to the left of the right line. Go back down on the right line, just below the first stitch, and come up on the left line, just below the first stitch. 01 Step two On the left side, slide your needle under the horizontal stitch, keeping the needle above the working thread. This and the previous step set up the stitch and you only need to do this at the beginning of your stitching. 02 Step three On the right side (RS), slide your needle under the X. Pull the thread so it is almost taut. 03 Step four Go back down on the right line just below the first stitch, and come up on the left line just below the first stitch. 04 Step five On the left side, slide your needle between the lowest horizontal stitch and the one above it, then under the small angled stitch. Repeat steps three to five as you work along the line. End by going down after the last repeat at step three. 05

NOTES Q Use a 1cm ( â &#x201E; in) seam allowance unless otherwise stated. Q Download the templates from www.simplysewingmag.com/ downloads Q Ladder stitch takes some practice to keep the tension even, but it's okay if the stitches look a little wonky and sketch-like.

MAKING THE PASSPORT CASE Step one Embroider the sketchy waves just to the right of centre on the linen fabric. Stitch the wide lines with ladder stitch in two colours, following the waves. Step two Stitch the two thin lines with running stitch. Use three strands of stranded cotton

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throughout your stitching. 06 Step three From the quilting cotton cut: Case lining: 14.5x20.5cm. Step four From the contrasting quilting cotton cut: Inner pockets: two 14.5x7cm (5 x2 in). Step five Sew a 7mm ( in) double-fold hem on one long edge of both inner pocket pieces. Step six Lay the two small pieces on the large quilting cotton rectangle with RS up and the hemmed edges toward the centre. Trim the embroidered linen piece to 14.5x20.5cm (5 x8 â &#x201E; in) then place this on top RS down. Step seven Pin and sew around the sides with a 7mm ( in) seam allowance, leaving an opening for turning on the bottom edge near the middle. Trim the corners to reduce bulk. Turn the case RS out. Press seams open. Sew the opening closed.

Get inspired by Sarah K. Benning's amazing embroidered art.

What's more captivating than a piece of embroidered art? A whole wall covered in them, of course. From beautiful botanicals to bold affirmations, the work of selftaught artist Sarah K. Benning is lush, colourful and shockingly contemporary. Embroidered Life by Sara Barnes (www. brwnpaperbag.com) is the first book to focus exclusively on this innovative artist, one of the driving forces behind the current embroidery renaissance. This eye-catching book will literally capture your imagination (we can't put it down).

This image is from Embroidered Life: The Art of Sarah K. Benning by Sara Barnes, a stunning art tome published by Chronicle Books, ÂŁ17.99. www.abrams andchronicle.co.uk

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The Award-Winning Haberdashery Shop Easy to make sewing kits by Maria Sammur Let’s Meet Watermelon Wendy 20” Tall

WATERMELON WENDY DOLL SEWING KIT Full instructions, template and materials included

For your fabric, yarn & haberdashery needs. Over 1000 fabulous fabrics for quilting dressmaking & crafts. Stockists for Riley Blake, Michael Miller, Liberty, King Cole, Stylecraft, Prym and Groves.Workshops for all levels. Really Maria’s unique pouffes, doll kits and Really Maria’s own line of fabrics BREAKING THE BOUNDARIES OF COLOUR

Simply Sewing is a magazine that is creative and innovative, inspiring yet practical - it’s both a teacher and a friend to our readers.

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www.reallymaria.com 15 Lordship Lane, East Dulwich, London, SE22 8EW

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0203 581 0909

Tiffa f NyJa y cksOn@Immedia e.Co.uK 0117 300 8203

Find us on:

Try Debbie Maxwell's easy restyle of a weekend staple and add a lace trim to an oversized tee.

Y r o i a H r!

Debbie says: “Adding a trim to the hem is a quick and simple way to revamp plain tees - I've used lace, but a pom pom or tassel trim would work well, too.” YOU WILL NEED Q An oversized T-shirt Q Lace trim: 2m (2 yd) (see notes) Q Matching thread Q Basic sewing kit NOTES You will need enough lace trim to fit around the bottom of the T-shirt. MATERIALS USED We used embroidered flower edge trim in black from Sew Crafty Online. www.sewcraftyonline.co.uk

ADDING THE TRIM Step one Cut the bottom off the T-shirt – we made ours so it will sit on the natural waistline but you can cut yours to any length you like. You might like to maintain the original length of the T-shirt. Step two Pin the lace trim right sides (RS) together with the bottom of the T-shirt and pin in place. Step three Trim any excess lace away, leaving 1cm ( ⁄ in) seam allowance to join the lace. The lace ends should be at the side seam. Step four Stitch the lace in place, being careful not to stretch the T-shirt fabric. Join the lace ends at the side seam from the wrong side (WS) and trim away any excess. Step five Press the T-shirt/lace seam hem to the inside of the T-shirt and stitch in place. Step six Turn up the sleeves twice by 2cm ( in) and stitch in place vertically to hold.

Debbie is a mummy, business owner and fabric hoarder. When she isn't crafting she loves walking in the countryside. Follow her at www.instagram.com/ duckandduffel

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n Pa T r Ne D D!

cotton casual What to do with a metre of cotton fabric, a length of elastic and a free afternoon? Sew Debbie Maxwell's pocket skirt.

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gath r d skirt 01

YOU WILL NEED

CUTTING OUT

Q Main fabric: 1mx150cm (1 ⁄ ydx59in) Q Elastic: 3cm (1 in) wide (see notes) Q Matching thread Q Basic sewing kit FABRIC USED Cotton chambray from www. samanthaclaridgestudio.com

Step one Cut a rectangle measuring the width of your fabric and 60cm (24in) in length. You can alter the length depending on your preference. Step two Cut this in half lengthways so you have a front and a back piece for the skirt and some remaining fabric to make the pockets. Step three Measure your waist and deduct 5cm (2in). Cut this length in elastic.

NOTES Q Use a 1.5cm ( ⁄ in) seam allowance unless otherwise stated. Q You will need elastic that is equal to your waist measurement. Q These instructions make a skirt measuring approx 146cm, which is suitable for sizes up to a UK 24. If you’d like to make a larger skirt you will need extra fabric.

MAKING THE POCKET PATTERN

FINISHING OFF

Step one To make a pattern for the pockets, draw an oval shape around your hand as shown in the image. These need to be angled downwards in the skirt, so make the curve by your thumb end lower than the end by your little finger. Join the ends together with a straight line. Add a 1.5cm ( ⁄ in) seam allowance all the way around. 01 Step two Cut four pocket pieces out of the remaining fabric using your template.

Step one Finish the raw edge of the skirt top. Step two Turn the top edge of the skirt to the wrong side (WS) by 5cm (2in) and press. Step three Pin along the raw edge of the fabric to create a channel. We used 3cm (1 in) wide elastic – the channel should be the elastic width plus 5mm ( in) for ease, plus a 1.5cm ( ⁄ in) seam allowance. The ease will ensure that the channel isn't too narrow for the elastic. 05 Step four Stitch in place, leaving a gap of approx 10cm (4in) to insert the elastic. Step five Insert the elastic (you can use a safety pin or bodkin to help if necessary) and stitch together the elastic ends with a zigzag stitch to hold. Step six Topstitch the waistband opening closed. Step seven Finish the raw edge of the hem. Step eight Press 1.5cm ( ⁄ in) of the lower edge of the skirt to the WS. Pin in place. Step nine Topstitch close to the open edge of the fold to secure the hem. 06

MAKING THE POCKETS Step one Place one of the pocket pieces right side (RS) facing the front skirt piece 15cm (6in) down from the waistline, aligning the straight edge of the pocket with the skirt side seam. Step two Do this for both sides on the front and back of your skirt and pin into place along the straight edge. 02 Step three Using a 5mm ( in) seam allowance, stitch the pockets in place.

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Step four Fold the pocket pieces out and press. Step five With RS facing, pin the front and back skirt pieces together, aligning the pockets with RS together as well. 03 Step six Stitch the sides seams together following the curve around the pockets. Step seven Finish all of the raw edges. 04 Step eight Turn the skirt right side out and press the seam flat.

Add 16 stitches to your sewing repertoire with our essential guide

Whether it's personalising a scarf with blanket stitch blooms, adding sashiko clouds to a kid's skirt or stitching delicate daisies around the neckline of a plain blouse â&#x20AC;&#x201C; the possibilities that embroidery can add to your me-made wardrobe are endless. Cue our handy Ultimate Guide to Embroidery booklet, a handbag-friendly keepsake with step-by-step walkthroughs to help you master 16 essential stitches. Keep it on your sewing desk (or next to your favourite armchair) for impromptu slow stitching. Don't forget your needle!

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§ # & }®& ¡& 1

SA VE 50% when you subscribe to ¥ ¨" Love Patchwork & Quilting is celebrating our 6th birthday this month and we’re excited to offer you a special offer! Save 50% on an annual subscription and get a year’s subscription for just £39.99!

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arm candy Upgrade your everyday bag with Anna Alicia's practical style made in luxurious green velvet.

v v t handbag 01

YOU WILL NEED

MAKING THE STRAP PATTERN

Q Non-stretch velvet fabric: 50cm (20in) Q Quilting cotton: 50cm (20in), for the lining Q Fusible stiff interfacing: 50cm (20in) Q 2 x Chicago screws: 2mm deep shaft, 1cm ( ⁄ in) across Q One magnetic popper clasp Q Bradawl Q Matching thread Q Basic sewing kit

Step one Make a pattern that is 52x11cm (41x4 ⁄ in). At one short end, evenly reduce the width to 7cm (2 in). Use a ruler to connect this shorter edge to the other 11cm (4 ⁄ in) edge. On the short end write 'cut on fold'.

FABRICS USED Outer: Dark green cotton velvet. Lining: Kona Solids by Robert Kaufman in Bellini. NOTE Use a 1cm ( ⁄ in) seam allowance unless otherwise stated.

CUTTING OUT Step one From the velvet fabric cut: Strap: Cut one using your pattern. 01 Bag outer: 71x32cm (28x12 ⁄ in). Pocket: two 25x20cm (9 ⁄ x7 ⁄ in). Step two From the lining fabric cut: Strap lining: one on fold using the pattern. Bag lining: 71x32cm (28x12 ⁄ in). Step three From the interfacing cut: Strap interfacing: one on fold using the pattern. Bag interfacing: 71x32cm (28x12 ⁄ in). Pocket interfacing: 25x20cm (10x8in). Step four Press the interfacing to the corresponding lining pieces. Interfacing the strap is optional – if you would prefer a softer, less structured strap, omit the interfacing. 02

that the pieces are RS facing. Sew all the way around the edges with a 1cm ( ⁄ in) seam allowance, leaving a 6cm (2 ⁄ in) gap along one edge. Turn RS out through the gap and press. Tuck the edges in for now as these will be sewn later. 03 Step two Lay out the velvet bag outer RS up in portrait position and place the pocket piece on top so that it is 8cm (3 ⁄ in) from the top edge and equidistant (approx 7cm) from each long edge. Check that the side of the pocket piece with the gap is not at the top (i.e. closest to the top edge). Pin the pocket piece in place. Sew along the side and bottom edges, leaving the top edge open, approx 4-5mm ( in) in. 04 Step three To add the Chicago screws, mark a point 1.5cm ( ⁄ in) down and 1.5cm ( ⁄ in) in from each of the top corners of the pocket. Use the bradawl to punch a hole through each of the marks you made. This hole will need to be wide enough to poke the shaft of the Chicago screw through, so you may need to snip it a little with the scissors to help. Add the Chicago screws. 05

PUTTING THE BAG TOGETHER ADDING THE POCKET Step one Lay one of the velvet pocket pieces right side (RS) down on your work surface and lay the corresponding interfacing piece on top with the glue side facing the fabric. Press to fuse. Now lay the remaining pocket pieces out RS up and place the interfaced pocket piece on top RS down so

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Step one Lay the bag outer velvet rectangle RS up in portrait position with the pocket towards the top edge. Mark a point 32cm (12 ⁄ in) down from the top edge on the right-hand side. Starting at the marked point, and pointing towards the top edge, lay the strap on top with RS facing and raw edges aligning. Pin along this edge. Mark another

v v t handbag 04

point 32cm (12 ⁄ in) down on the left-hand side of the rectangle and pin the other end of the strap in the same way. Sew along the pinned edges, starting and finishing 1cm ( ⁄ in) from the ends. 06 Step two Continue to pin the edges of the rectangle to the strip so that the rectangle is pinned along the bottom of the strip on both sides and 32cm (12 ⁄ in) up the strip, as on the first side you sewed. Sew along the pinned edges, with a 1cm ( ⁄ in) seam allowance, stopping 1cm ( ⁄ in) from the top edge of the rectangle. 07 Step three Trim the corners at the base of the bag and then turn RS out. 08 Step four Repeat the above steps with the lining pieces, but don’t turn RS out. 09 Step five Tuck the lining into the velvet outer so that all the edges align. Turn the edges of the lining in by 1.2cm ( in) and the edges of the velvet in by 1cm ( ⁄ in), pinning together as you go – the velvet should slightly overlap the lining. Pin along the top edge of the bag and along both edges of the handle. 10

FINISHING THE BAG Step one Mark a point on the lining 2.5cm (1in) down at the centre of the front and back top edges. Unpin a gap above each of the marks. Add the negative half of the popper to the back lining edge and the positive side to the front lining edge. Replace the pins you removed. 11 Step two Hand-sew along the pinned edges. 12

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SEWING FOR CURVES

Meet the designers and makers campaigning for a truly size-inclusive dressmaking industry. Written by Sarah Gane.

Jess, aka @fat.bobbin.girl, has created an extensive list of plus-size patterns, which can be sorted by company, size, garment type and detail, at www.broadintheseams.com

Cashmerette’s Jenny launched her pattern brand in response to the limited size range on offer: "So many of us were having to constantly grade up and do full bust adjustments. So, I decided to do something about it!”

s women, we all know dress sizes can be a contentious issue. Whether it’s high street brands' measurements differing wildly from shop to shop, or someone passing judgement on another person’s shape, shopping and even the very act of dressing ourselves can be an incredibly frustrating and lessthan-positive experience at times. It’s one of the reasons many of us decide to make our own garments, isn’t it? To take the control back, be creative and make ourselves feel good with clothes that fit us well right here, right now. But here’s the thing: when it comes to sizing and measurements in sewing patterns, there is no one-size-fits-all solution here either. There are still limitations. As sewists with a fuller figure will already be aware, this can either mean a whole lot of grading to get to the end result, or simply being excluded from designs completely.

inclusive is, quite simply, to include more people,” says sewist Jess (of @fat.bobbin.girl and www.broadintheseams.com). “As Jenny from Cashmerette has pointed out, ‘plus size’ is actually the average size.” “I learned how to sew clothes in 2010, but I was immediately really disappointed by the lack of plus-size patterns available, and the fact that so many of them were designed for a B cup,” Cashmerette’s Founder and Creative Director Jenny Rushmore tells us. “I’m an H, and the average woman is a DD, so it meant

PLUS IS EQUAL

that so many of us were having to constantly grade up and do full bust adjustments. So, I decided to do something about it!” Cashmerette (www.cashmerette.com) is an inclusive sewing pattern brand catering for sizes 12-28 and cup sizes C-H. Championing women just as they are, while celebrating “curves, confidence and limitless style,” the brand focuses on “changing clothes and mindsets, rather than being told we should change our bodies.” Jenny also co-founded the Curvy Sewing Collective (www.curvy sewingcollective.com) with Mary Danielson

The beauty of sewing, though, is that anyone can give it a go; that we can all set aside some of our precious free time to create something beautiful, just for ourselves. And, thankfully, a recent push for size inclusivity – through blog posts, hashtags and platforms such as Instagram – has shone a light on the issue, questioning the usual approach to pattern design and asking for positive change. “I think there’s been a lot of discussion about this online recently (especially through Instagram), but the easiest way to be more

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“I love to be able to wear what I want, instead of being limited by what’s in stores.”

Perry (aka @IdleFancy). This brilliant online community believes that “the more curvy women are encouraged to sew and share their creations, the more the industry will take notice of our needs.” In amongst the friendly forum and helpful pattern reviews, you’ll also find a wealth of invaluable resources for curvy-specific sewing.

CURVYSEWING “I started sewing because it was basically impossible to buy plus-size clothes made from natural fibres in styles that I liked,” Jess explains. “It was also difficult to find things that fit both my bust and my hips, which I know is a common issue for lots of women! I often wonder if I would sew if I could buy what I wanted to wear, but I think I’ve well and truly caught the bug now and love to be able to wear what I want, instead of being limited by what’s available to me in stores.” Sewist and blogger Aaronica Cole, who

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Main photo: www.theneedleandthebelle.com © AC Media; Top left photo: www.cashmerette.com; Top right: www.broadintheseams.com; Inset photo: www.papertheory.com

A GOOD R AD

Top left and bottom right: www.papertheory.com; Centre: Cat Black for www.elbetextiles.com.au; Top right: www.broadintheseams.com

A GOOD R AD

Below: Blogger Aaronica Cole wearing her version of Petite Stitchery's Harmony Harems. Centre: Elbe Textiles' Lauren is currently working on making her sizing more inclusive and re-shooting her garments on "more body shapes and sizes."

Photo: www.theneedleandthebelle.com © AC Media

shares her sewing @needleandthebelle and at www.theneedleandthebelle.com, agrees: “The beauty of making your own clothes versus ready-to-wear clothes is that they’re made to fit your body. I do have some go-to patterns. For bodysuits, I love both the Petite Stitchery Juliet (www.petitestitchery.com) and the Made For Mermaids’ Tai (www. madeformermaids.com). These are super-fast and easy to sew up. I love the Patterns for Pirates Palazzo pants (www.patternsfor pirates.com). These are fast and easy to hack to create different looks. For a basic tee, I love the Patterns for Pirates Basic Tee. It has three sleeve lengths, three bodice lengths and three neck styles. So basically it can fit whatever look you’re going for!” Aaronica continues: “As far as dresses go,

for summer my go-to is the Patterns for Pirates Essential Tank dress. I love the way this hugs my body. I’ve used everything from a ribbed knit to double-brushed polyester to Liverpool fabric, and I love all versions of it!” “At the moment, there aren't all that many brands that cater to my measurements, and if they do they’re not always making styles that I want to wear,” adds Jess. “I love the patterns from Paper Theory and Elbe Textiles and I know they're both working hard to expand the sizes on their back catalogue of patterns, which I’m really excited about. Both Tara (from Paper Theory) and Lauren (from Elbe) have a gorgeous aesthetic and offer styles that aren’t widely available in extended sizes, and I’ve been incredibly impressed with the drafting from both companies!”

“The beauty of making clothes versus readyto-wear is that they're made to fit your body."

CHANGE FOR GOOD Tara Viggo, founder of Paper Theory patterns (www.papertheory.com) is one of the independent pattern makers pushing for inclusivity in her products. “As I was already including more sizes than the majority of most fashion brands, I had considered Paper Theory to be ‘inclusive’; however, I realised (after having the opportunity to make friends

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with body positivity and anti-fat phobia campaigners on Instagram), that I simply wasn’t being inclusive enough. And, although I had no intentions to exclude anyone, by stopping my sizes at a 20 it was pointed out to me that I was, in fact, still excluding a large number of women.” Work is currently underway to add in sizes 22-28, style by style. So far Tara has updated the best-selling Zadie Jumpsuit to feature sizes 6-28, and, most recently, the Kabuki Tee and the LB pullover also have new sizes 22-28. The new pattern, the long-awaited Miller Trousers, going on sale at the start of September, will be available in sizes 6-28, too. “We are trained as pattern cutters that a size 8 is the industry standard, and that anything above 16 is ‘niche’, yet the average women is a size 16-18,” she tells us. "I had been working within this system for 15 years, so it was difficult at first to question what I thought was ‘standard’ and more importantly why I thought it was standard. When I tried to unpack the reasoning behind why the fashion industry was so far out of step with what the majority of women needed, any explanation other than systemic and structural fat phobia fell short of me.

A GOOD R AD Tara Viggo, founder of Paper Theory patterns, is expanding the brand's size range to 6-28: "It seems obvious to me to do everything I can to actively try to build a new normal.”

M Expert tips for getting the best fit.

Once you dig a little deeper and understand that fat phobia is inherently linked to classism, racism and the patriarchy, it seems obvious to me to do everything I can to actively try to build a new normal.” Lauren, founder of Elbe Textiles (www. elbetextiles.com.au) is also pushing for social change with her sewing patterns. “I’m still in the process of making my patterns more inclusive,” she explains. “Not everything is finished yet, and I haven’t had the chance to re-shoot a lot of the garments on more body shapes and sizes yet, but this is definitely the plan for the near future and will be an ongoing thing for all new patterns.”

MAKING PROGRESS Alongside supporting indie pattern makers, Jess has also created an online directory of brilliant inclusive sewing patterns. “There are lots of lists online…but it’s often a huge mission to find what the sizing is,” Jess tells us. “I’ve had success sewing the free patterns designed by Emily from In The Folds for Peppermint Magazine, and I started to think about what else there might be out there.” Jess started by compiling a spreadsheet with her findings, expecting to maybe put together a blog post with about 30 free patterns that went to above a 50in hip, “but I kept finding websites I’d never heard of, discovered companies that were actually much more inclusive than I realised, and lots

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of patterns are actually free if you read the fine print!” Called Broad In The Seams, Jess’ blog features reviews of plus-size sewing patterns. The great thing is, you can sort items by company, pattern, size, garment type and detail. “We’re not a mysterious niche market,” she continues, “and we’re also not expecting that companies will make patterns that fit every single one of us straight out of the packet. Additionally, if brands do have inclusive sizing then it’s great to see that reflected in their social media!” While it’s clear that work still needs to be done to create an inclusive sewing industry, we can take some solace in the fact that as sewists our superpowers include creativity and a fierce sense of community. Celebrating different styles, figures and beautifully wellmade garments – whatever the size – is what we’re all about. As Aaronica confirms, the joy of sewing is creating what makes you happy: “Don’t be afraid to take chances with fabric colours and patterns. Never let someone else determine what works best for your body – the only person who needs to think you look good is you. And don’t be afraid to hack patterns into something that you love!”

AMANDA BROWN www.cottonontosewing.com Amanda is an independent sewing tutor based in the South West, she teaches workshops at Eternal Maker, Ardington School of Crafts, The Village Haberdashery and more. “The biggest challenge facing us curvy women is choosing the correct pattern and fabric for our figures. We need shapely styles to show them off," she says. "When you’re choosing a pattern, look at where they have placed the darts and seams. Unfortunately, if you are a beginner and would like to make fitted garments, this means more shaping, which means more techniques like inserting zips and facings. Sometimes a pattern may not have darts, but as soon as you create these it may mean a zip is needed. I have been blessed in my later career to meet and be tutored by Jon Moore, Couturier to the Queen (www.jonmoore. com). One amazing tip he gave me is to not cut the armholes of commercial patterns out – leave them and then fit them on you. We are all so desperate to cut out, but once you do that you can’t alter it. Bust and armhole fittings can be the most awkward part of dressmaking, and once you cut that fabric away you have nothing to play with and alter.” Amanda also recommends making toiles to get the fit right for your body, but you don’t have to buy yards of muslin. “I’m a great believer in upcycling – so why not use old quilt covers as your toile fabric? Carboots and secondhand shops are great places to pick these up.”

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Photos: www.papertheory.com

AARONICA COLE www.theneedledndthebelle.com “I always have to grade patterns,” explains Aaronica Cole. "My top is about three sizes smaller than my bottom. I normally have to either do a swayback or full booty adjustment as well as grade out from my waist to hips… it really just depends on the pattern. Initially I was super-confused by the process and totally avoided making any adjustments. But the beauty of making your own clothes is that they’re made to fit your body. So I took the time out to learn what adjustments would work for my body. And I took lots of muslin fabrics and figured it out.”

n Pa T r Ne D D!

pyjama party Fill your dreams with rainbows and unicorns with Karoline Dahrling's pyjama set, made by tracing a top and jeans.

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pyjamas 01

YOU WILL NEED Q Jersey fabric: 1.75x115cm (1 ydx45in) Q Elastic tape: 3cm (1 in) x your waist measurement Q Top and trousers or jeans, to use as a template Q Tailor’s chalk Q Ruler or pattern master Q Pattern paper Q Matching thread Q Basic sewing kit FABRICS USED Printed unicorn jersey from www.stoffstil.co.uk NOTES Q Use a 1cm ( ⁄ in) seam allowance unless otherwise stated. Q We recommend using a stretch stitch to sew the seams. If you don’t have a specialist stretch stitch use a narrow width zigzag stitch which will give the stitch a little stretch. Q You will need more fabric if you would like the shorts or top to be longer, or if you are making the pyjamas larger than a UK size 16.

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TO MAKE THE TOP MAKING THE PATTERN Step one Fold the top in half vertically and place it on top of the paper. Use a few pattern weights to hold the top in place. Step two Use a pencil to trace around the back neckline and then across the shoulder seam. At the end of the shoulder seam line, continue the line until the entire shoulder seam measures approx 40cm (16in) or your desired shoulder seam and sleeve length combined. Step three Measure around your elbow to find your elbow width. Half this amount and add 5cm (2in) for ease plus 2cm ( in) seam allowance (1cm for each side). Draw a straight line downwards at a 90-degree angle at the end of the shoulder/ sleeve seam. This will be the sleeve opening. Step four Draw a smooth curve from the end of the sleeve opening down to the hem using the image as a guide. The curve needs to be shallow and smooth or sewing it will be difficult. We made our seam a few centimetres larger than the original top for an oversized fit. Step five Calculate how long you would like the top to be and then mark this on the paper at the centre front. Square off the hemline at your desired length and join this to the end of the side seam curve. Step six Once you have completed the back pattern piece, draw a lower neckline for the front pattern pieces approx 3-5cm (1 -2in) down from

the first neckline marking. The shoulder seam, armhole, side seam and hem will remain the same for the front piece. 01 Step seven Trace off the front pattern piece with the lower neckline. You will now have two pattern pieces – one with a higher neckline for the back and one with a lower neckline for the front. Add 1cm ( ⁄ in) seam allowance to both pieces all the way around except for the centre front line, as this will be cut on the fold.

CUTTING OUT Step one From the jersey fabric cut: Top front: cut one using the template. Top back: cut one using the template.

MAKING THE TOP Step one Place the front and back pieces right side (RS) together. Pin along the long shoulder/sleeve seam and then stitch. Sew slowly and avoid stretching the fabric. Step two Finish the raw edges with a zigzag stitch or overlocker. Step three Stitch the underarm seam all the way from the armhole opening to the hem. Finish the seams as before. 02 Step four Try on the top to check the fit and the neck opening. If you would prefer a wider neck opening, trim an even amount away at this point, remembering that there is 1cm ( ⁄ in) seam allowance around the neck.

Step five The neck opening is finished with a mock binding. Turn the top RS out and fold the fabric at the neck opening over by 5mm ( in) RS to RS, so that the wrong side (WS) of the fabric is visible on the front of the garment. Fold again in the same way with another 5mm ( in) fold. Pin in place. Step six Topstitch close to the fold. Sew slowly and avoid stretching the fabric. 03 Step seven When complete, the neckline should sit flat and all of the raw edges should be enclosed by the mock binding. 04 Step eight Finish the armhole raw edges. Step nine Fold the sleeve hems to the WS by 1cm ( ⁄ in). Pin in place and then stitch close to the finished edge. 05 Step ten Repeat to hem the top.

TO MAKE THE SHORTS MAKING THE PATTERN Step one Lay the paper flat with your trousers or shorts folded in half vertically, so that one side of the front of your trousers/shorts is showing. Step two Draw around the existing garment, adding 2.5-5cm (1-2in) to the side seams if your current garment is tight fitting. If you are using trousers as the template, mark the point on your paper where you would like the shorts hem to be – ours measure 22cm (8 in) from the crotch seam to the hem. Step three The elastic channel is grown-on, so decide where you would like this to sit on your

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shorts and mark this on the pattern – we wanted ours to sit slightly lower than the top of the trousers we used as a template. 06 Step four Repeat to make a pattern for the back of the shorts. Note that the crotch seam is likely to be longer at the back. 07 Step five For both the front and back, add 5cm (3 ⁄ in) seam allowance to the top seam and 2cm ( in) to the bottom seam, as well as 1cm ( ⁄ in) to both the side seams and the crotch seams. 08 Step six Cut out your paper patterns and use them to cut a mirror pair for both the front and back pieces from the fabric. 09

SEWING THE FRONT AND BACK Step one Pin the two front pieces right sides (RS) together along the curved crotch seam. Step two Sew the crotch seam from top to bottom. Finish the raw edges. Step three Repeat to sew the crotch seam on the two back pieces. Press both of the seams to the same side. 10 Step four Pin then sew the shorts front and back RS together along the side seams. 11 Step five Press the side seams to the back. Step six With RS facing, pin the shorts front and back together along the inside leg, aligning the front and back central seams. Step seven Sew the inside leg seam, starting at one hem, sewing up to the crotch and down to the other hem. Press the seam to the back.

HEMMING THE SHORTS Step one Finish the raw edges of the fabric around one leg opening. Turn the fabric to the WS by 1cm ( ⁄ in) and stitch in place. Step two Repeat for the other leg opening.

ADDING THE ELASTIC WAISTBAND Step one Finish the raw edge of the waistband. Turn this edge to the WS by 4cm (2in). Press. This is the channel and should be slightly wider than the width of your elastic. Step two Starting near the centre back seam of the shorts, sew the elastic channel to the shorts, close to the finished raw edge. Leave a 6cm (2 ⁄ in) gap to insert the elastic. Step three Measure your waist and work out how you would like the shorts to fit. Our elastic is cut approx 12cm (4 in) longer than our waist measurement so that the waistband sits below our natural waist but can still stretch over the hips. Cut the elastic to size. Step four Using a safety pin, thread the elastic through the elastic channel all the way around and out the other side. Step five Pin the elastic together to check fit, then cut any excess and sew together with two rows of stitching along the elastic overlap for strength. Step six Pull the waistband outwards so the elastic pops back inside the channel. Pin and then sew the opening closed, pulling the fabric straight as you go. 12

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calm moments Bring a little ocean tranquility to your home with Juliet Bawdenâ&#x20AC;&#x2122;s tie-dye quilt in sea-inspired indigo and aqua hues.

PHOTOs by: Antonia Attwood RCA MA

YOU WILL NEED

TIE DYE TECHNIQUES

Q White cotton sheeting: 2.5mx140m (2 ydx55in) Q Lining fabric: 2.1mx140cm (83x55in) Q Wadding: 2.1mx140cm (83x55in) Q 1 large bowl, to wet the fabric Q 2 buckets, for the dye baths Q Elastic bands Q Washing pegs Q Lolly sticks Q A piece of plastic piping Q Orange stranded cotton Q Embroidery needle Q Clear plastic template measuring 18x18cm, including 1cm ( ⁄ in) seam allowances Q Matching thread Q Basic sewing kit

Step one Mix up the dye baths according to manufacturer’s instructions. Cut up the fabric into pieces to approx 50x50cm (20x20in). Step two Take one piece of fabric and make even pleats then press flat. Sandwich the fabric pleats between lolly sticks, and tie together at each end of the stick using elastic bands. 01 Step three Fold a piece of fabric into pleats and press. Tie elastic bands with even gaps down the length of the pleats. 02 Step four Repeat with another fabric piece, this time peg along the edge of each pleat. 03 Step five Form a ball shape with a fabric piece and tie with elastic bands to hold it together. Step six Fold the fabric round a piece of plastic piping. Anchor it in place using elastic bands. Step seven Fold the square of fabric into smaller and smaller squares and finally fold in half to make a triangle. Wrap with elastic bands. Step eight Wet the wrapped fabrics in a bowl of water. When thoroughly wet, divide the fabric wraps into two and put in the dye baths. 04

NOTES Q The amount of fabric you need depends on the size of the quilt you are making. A single duvet cover measures 135x200cm (approx 53x78in). Q Dylon dye in Bahama Blue and Ocean Blue from Hobby Craft www.hobbycraft.co.uk Q Use a 1cm ( ⁄ in) seam allowance unless otherwise stated.

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template and use the straight edges of the ruler to guide the rotary cutter. 06 Step four Once you have cut out lots of squares, lay them next to each other, alternating turquoise and blue and trying to get different designs next to each other. Sew the squares together row by row with the right sides (RS) of the fabric facing. Step five Sew the rows together to create a large grid of squares. Lay the quilt top on top of the wadding and use it as a template to cut the wadding to the same size. RS facing up, pin the quilt on top of the wadding around the edge. From the back to the front, through both the wadding and the tie-dyed squares, sew a decorative diagonal orange cross on each corner where four corners join. Step six Cut a piece of fabric the same size as the quilt for the back. With RS together, sew the back to the front around three and a half sides. Remove the pins and turn the quilt through the right way. Turn the open edges in, pin, and sew closed with a hemming stitch.

MAKING THE QUILT Step one Rinse and press the squares of fabric. Step two Place the clear plastic template on a part of the design that you like. Make this as near to an edge as possible, so that you have lots of fabric left to cut other squares. 05 Step three Lay the clear ruler on top of the

Designer Juliet Bawden has written a variety of craft and design books. See more of her sewing projects at www. creativecolour.org and on Instagram @juliet_bawden

12 ON SE SAL PT E !

From cooking to crafting, decorating to gift buying, Simply Christmas is packed with ideas and inspiration to make sure you have a very happy holiday season!

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a good read

NOBLE NEEDLEWORK Prestigious embroidery house Hand & Lock talk to us about the power of 200-year-old traditions, their black book of royal connections and the promising future of crafting. Written by Rachel Avery.

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a good read ou would be hard-pushed to find many things that the Queen, Miss World and Kanye West have in common, but one thing that unites them all is the fine work of British embroidery house, Hand & Lock. The brand have been granted a Royal Warrant of Appointment by Queen Elizabeth II for their continued relationship with many royal households, working on an array of military uniforms and formal regalia. They are also responsible for creating the sash worn by Miss World (and not forgetting Mr World, too), and, most recently, have been working with Kanye West’s fashion brand, Yeezy. From the fine goldwork adorning military occasionwear through to the iron-on patches emblazoned on the backs of denim jackets of many Millennials, one of the most impressive things about this embroidery house, is the breadth of work they partake in. But nothing is more astounding than the company’s heritage, spanning two centuries…

A REGAL HISTORY The incredible story of the company began to be crafted back in 1767 when M. Hand, a French refugee, started creating and selling

lace to military tailors in London. M. Hand & Co. became a reputable company over the years, producing military badges and regalia for military tailors and the iconic Saville Row. The 'Lock' side of the name comes from Stanley Lock, a 1950s embroidery designer who made his name working for CE Phipps & Co. and eventually bought the company and renamed it S. Lock Ltd. Between the two brands, their intricate handiwork has been sported by Marilyn Monroe, Michael Jackson and Diana, Princess of Wales. It was in 2001 that the Hand & Lock name was born, but with over 200 years of experience behind it, it was already established as a trusted and prestigious brand. Notable commissions come frequently when you are such an iconic powerhouse in the crafting world, but 2012 was a pretty spectacular year. It was the year in which Britain played host to the Olympics and also celebrated the Queen’s Diamond Jubilee

– and Hand & Lock took on an important role in both of these major events. Their work most visibly showcased upon Brian May’s jacket for the London 2012 Summer Olympics opening ceremony and on the banner of the royal barge for the Jubilee. A SIGNATURE STYLE So, how does a company with a history that dates back to the 1760s manage to sustain such popularity today? Production Director Jessica Pile believes its dedication to using traditional embroidery techniques has actually worked in the brand’s favour. Essentially, they still prick and pounce (an embroidery transfer method) just as they always have: “A lot of the work we do is exactly the same as the work we produced back in 1767 and we are recognised for our style of embroidery," says Jessica. "It has taken a long time to build our reputation in the many industries we sit in and therefore our history and heritage has

"A LOT OF THE WORK WE DO IS EXACTLY THE SAME AS THE WORK WE PRODUCED BACK IN 1767 AND WE ARE RECOGNISED FOR OUR STYLE OF EMBROIDERY."

Photo bottom left: Jutta Klee Photography. Other photos: www.handembroidery.com

Left: Hand & Lock embroiderer Juliet Ferry at work. She's passionate about celebrating and preserving this traditional skill: "The art of embroidery means endless possibilities and it all starts with a needle and thread, and this is why I cherish it so much. At Hand & Lock we try to have samples and monogramming completed in-house in the UK to make sure the skills will not get lost and disappear.”

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Photos: www.handembroidery.com

a good read

put us where we are today.” And it's this commitment to a signature style that Jessica advises budding embroiderers to emulate: “If you look at embroiderers who have been successful, they all have a really clear style that comes through in their embroidery.” This reputation for excellence has propagated throughout the many decades and now the incredible work of Hand & Lock can be admired on the silver screen, the red carpet and the catwalk. Their international fashion house black book includes the likes of Dior, Burberry, Hermes, Louis Vuitton and Vivienne Westwood, just to name a few. HOME IS WHERE THE HEART IS Hand & Lock are proud to have the accolade of London’s oldest-serving embroidery house, but they are fully enlightened to the challenges that could have derailed such a traditional brand. Jessica speaks of the mass production from the Far East: “Today it is a very large competitor of ours and we have to make sure we are able to compete or offer something that you cannot find there.” Hand & Lock embroiderer Juliet Ferry is passionate about retaining her craft: “The art of embroidery means endless possibilities and it all starts with a needle and thread, and this is why I cherish it so much. At Hand & Lock we try to have samples and hand-monogramming completed in-house in the UK to make sure the skills will not get lost and disappear.”

And although they do manage a dedicated workshop in India for larger-scale projects, their thriving London Atelier in the heart of Fitzrovia is testimony to the patriotic nature of the company. You can even experience the hive of activity for yourself as the workshop is opened up during the week for guided tours. TECHNOLOGY TRIUMPHS Producing meticulously beautiful work for more than two centuries, Hand & Lock are one of the few fine embroiderers that have stood the test of time. This is undoubtedly due to the fact that, although they are loyal to their tried-and-trusted techniques, their general business approach is very much one of contemporary innovation. “We use social media to promote our classes, studio tours and embroidery supplies and we see it as a great space to create a conversation about embroidery with our enthusiastic audience,” says Communications Manager, Robert McCaffrey. While the progression of globalisation may have proved to be challenging for the manufacturing industry in Britain, the advances in technology have provided a wealth of opportunity for Hand & Lock. Jessica reports: “At London Craft Week we worked with Apple and Yinka Ilori to look at how technology has influenced craft and we used iPads to create a design.” Robert speaks in the same positive light: “The internet has enabled us to share our passion for

“WHEN DIOR AND CHANEL PROMOTED THEIR VIDEOS OF EMBROIDERERS, THEY USED THEIR PLATFORM TO SHOW HOW EMBROIDERY IS A SERIOUS ART FORM, BY TRUE ARTISANS.”

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embroidery with an international audience. Without the internet we couldn’t teach our classes in the USA or sell our embroidery supplies in Australia.” SEWING SUPPORT The company’s legacy is not only apparent in the work with leading fashion designers and brands, but also through the more recent efforts to support the wider embroidery community. Since 2000, Hand & Lock have been investing time and money into training and education of this fine art. The Hand & Lock School for Embroidery has an array of workshops on monogramming, goldwork, silkshading, beading and an introduction into embroidering for budding beginners. As well as classes in London, Hand & Lock host training workshops at the San Francisco School of Needlework and Design, where

a good read their renowned skills are shared. And participants of the workshops can even request to receive a Hand & Lock certificate as proof of their quality skills. Another of the ways Production Director Jessica sees Hand & Lock as “preserving the craft of hand embroidery” is through the Hand & Lock Prize For Embroidery. Juliet Ferry also champions the annual awards: “Every year we run a competition which I find very inspiring. It is a good way to see what has been done all around the world and is an opportunity to share experiences and techniques with candidates.” The competition was established in 2000, out of a desire to promote embroidery and its beauty but to also give unknown crafters a platform for their beautiful handiwork to be recognised. Many of the previous winners have gone on to start their own businesses or now work for leading design houses. The evolution of the Hand & Lock Prize For Embroidery has meant an expansion of categories and now digital embroidery is awarded as well as hand embroidery.

A NEW ERA FOR EMBROIDERY Working hard to shake the image of embroidery being exclusively for the older generation, Communications Manager Robert McCaffery applauds fashion brands for championing this skill and bringing it into public consciousness. “When Dior and Chanel promoted their behind-the-scenes videos of embroiderers working in the Paris workshops it really helped," he says. "It’s like they pulled back the veil and used their platform to show how embroidery is a serious art form and the men and women working in the field are true artisans.” While other brands have succumbed to a forced metamorphosis, changing their ethos and techniques to try and move with the modern times, Hand & Lock have stayed true to their heritage to cement a trusted legacy. They have navigated the unsteady waters, following the ebbs and flows of embroidery’s popularity, and today they stand proudly as both pioneers and champions of this incredible skill. Visit www.handembroidery.com

UD From the glitz and glamour of the silver screen to the regal realms of the monarchy, here are some of the most memorable Hand & Lock commissions. • 1953: Marilyn Monroe and Jane Russells' dresses in Gentlemen Prefer Blondes. Embroidered by S. Lock Ltd. • 1988: Gieves & Hawkes Jacket for Michael Jackson. Goldwork embroidered by M. Hand & Co.

• 2007: Kate Moss Swarovski Flapper Dress. Designed and made by Hand & Lock. • 2012: Queen’s Diamond Jubilee Coat of Arms displayed on a barge. Designed and made by Hand & Lock. • 2012: An embroidered jacket for Brian May, worn at the London Olympics. Designed and made by Hand & Lock. • 2013: Louis Vuitton collaboration with the Chapman Brothers. Embroidery designed and made by Hand & Lock. • 2016: Laces, military details and goldwork letters for Burberry's SS16 collection, produced and supplied by Hand & Lock. • 2018: Porter magazine cover with Natalie Portman wearing an Andreas Kronthaler for Vivienne Westwood corset.

Centre: Production Director Jessica Pile recommends finding your own unique style: “If you look at embroiderers who have been successful, they all have a really clear style that comes through in their embroidery.” Left: Hand & Lock create everything from red-carpet gowns and film costumes to military jackets like this exquisite example. Right: Tools of the trade – colourful threads at Hand & Lock's London studio, where they offer guided tours and workshops.

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Photo centre: Saiorse Crean Photography. Other photos: www.handembroidery.com

• 1989: Elvis Dress worn by Diana, Princess of Wales. Designed by Catherine Walker, embroidered by S.Lock Ltd.

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bumper crop Swap grow-your-own for sewyour-own and make Anna Aliciaâ&#x20AC;&#x2122;s veggie box filled with leeks, carrots and beetroots.

V g tab box 01

YOU WILL NEED

CUTTING OUT

Makes one crate and two of each vegetable: Q Cotton in a natural, unbleached colour: 40x80cm (16x32in) Q Mid-green cotton fabric: 35x60cm (14x24in) Q Light mint-green cotton fabric: 30x30cm (12x12in) Q White cotton 5x30cm (2x12in) Q Orange cotton: 20x35cm (8x14in) Q Reddish brown cotton: 30x30cm (12x12in) Q Foam interfacing: 40x60cm (16x24in) Q Stranded cotton in burgundy and off-white Q Small amount of toy stuffing Q Fabric clips Q Matching thread Q Basic sewing kit

Step one From the natural cotton cut: Crate outer and lining: two 30.5x36cm (12x14 ⁄ in). Step two From the foam interfacing cut: Crate wadding: 30.5x36cm (12x14 ⁄ in). Leek wadding: two 18x12.5cm. Step three From the mid-green cotton cut: Carrot leaf: six using the template. Leek lining: two 18x12.5cm. Leek top: two 10x12.5cm. Step four From the light mint-green cotton cut: Beetroot leaf: four using the template. Leek middle: two 7x12.5cm. Step five From the white cotton cut: Leek bottom: two 5x12.5cm. Step six From the orange cotton cut: Carrot: two using the template. Step seven From the reddish brown cotton cut: Beetroot: six using the template.

MAKING THE CRATE NOTES Q Use a 1cm ( ⁄ in) seam allowance unless otherwise stated. Q Download the templates at www. simplysewingmag.com/ downloads Q Fabric clips will be useful when working with foam interfacing.

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Step one Lay the two cotton rectangles on top of the foam interfacing. If your cotton has a right side (RS), make sure the two pieces of cotton are RS together. Use fabric clips to clip the foam and cotton together. At each corner of the cotton/foam sandwich, mark and cut out a 6.5cm (2 ⁄ in) square. 01 Step two Sew around the edges of the shape, including the edges of the cut-away corners,

1cm ( ⁄ in) in, leaving a gap of approx 8cm (3 ⁄ in) on one of the longer edges. 02 Step three Trim across the outer corners of the seam allowance and snip close to the stitching at the inner corners (where the squares are cut away). This will make the corners crisper once you turn the piece RS out. Step four Turn the shape RS out, making sure the interfacing ends up on the inside, between the two layers of cotton. Tuck the edges of the opening in and pin it closed. 03 Step five Use fabric clips around the outer edge of the shape to hold the layers flat together. Sew along the outer edges only, not the edges of the cut-away squares, 5mm ( in) in. Sew a line 2cm ( in) down from each of the lines you have just sewn, followed by another line, 2cm ( in) down from these. Lastly, on each side sew from the inner corner of one cut-away square to the inner corner of the other (approx 2cm down from the last line you sewed). 04 Step six Bring the edges of one cut-away square to meet face to face, clip together and sew 3-4mm ( ⁄ in) from the edge. Repeat for all four corners to create the crate shape. Turn the crate RS out (so the seams along the corners are now on the inside). 05 Step seven Pinch the top of each corner together and add a few stitches by hand to help hold the shape. Then hand-sew the opening from earlier closed.

MAKING THE CARROTS AND BEETROOTS Step one Lay out the leaf pieces in matching pairs with RS facing and pin together. 06 Step two Sew around the edges, leaving a gap of 4cm (1 ⁄ in) near the bottom. Turn RS out through the gap and press, and then hand-sew the gaps closed. 07 Step three Use a running stitch or backstitch to stitch a vein along the centre of each beetroot leaf with burgundy stranded cotton. We used six strands for bold stitching. 08 Step four Fold each of the carrot pieces in half RS together so the longer edges meet and pin along that edge. Sew along the longer edge only, making a curved point at the tip of the carrot. Turn RS out. Step five Lay one beetroot piece out RS up and lay a second on top, RS down. Pin along one side only. Sew along that edge only, stopping approx 2cm ( in) from the centre of the top. 09 Step six Open out the sewn pieces and lay a third one on top of the first, face-down, so the edges line up. Pin then sew along one edge, stopping approx 2cm ( in) from the centre of the top. Finally, pin the remaining open edges together and sew, again stopping 2cm ( in) from the centre of the top. Turn RS out. Make the other beetroot in the same way. 10 Step seven Thread a needle with six strands of burgundy stranded cotton and tie a large knot at the end. Place the needle inside one of the

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beetroots and poke it through the beetroot’s point. Pull the thread through until the knot stops it and cut the thread so you have a 3cm (1 in) root. Repeat for the other beetroot. Step eight Stuff the beetroots and carrots with toy stuffing until they are firm. 11 Step nine At the top of one of the carrots, fold the edge in by approx 8mm and make a running stitch around the edge through both layers of the folded edge, approx 4mm from the top. Use a doubled thread for these stitches for strength. Pull on the thread so that the stitches gather. Poke the ends of three of the carrot leaves a little way into the top of your carrot, pull the gathered top tight and add stitches to hold the gather and the leaves in place. Repeat for the other carrot. Step ten At the top of a beetroot, insert the ends of two of the leaves a little way. Stitch the opening closed, stitching the leaves in place as you go. Repeat for the second beetroot.

MAKING THE LEEKS Step one Lay out one of the leek top mid-green pieces RS up and lay a leek middle piece on top RS down so one of the longer edges meets. Pin and sew along that longer edge. Unfold and press along the seam. Now lay this piece out face up and lay one of the leek bottom pieces on top RS down so one of its longer edges matches up with the light green edge of the

panel. Pin and sew, then unfold and press. You should have a striped panel with mid-green at the top followed by light green then white. Step two Lay out one of the interfacing pieces and lay the striped panel on top, RS up. Lay one of the larger mid-green pieces on top RS down. Pin around the edges and sew, leaving a gap of approx 6cm (2 ⁄ in) along one of the longer edges, close to the white end. Step three Turn RS out through the gap, making sure the foam interfacing ends up sandwiched between the cotton fabrics, and press. To add the roots, thread a needle with six strands of off-white stranded cotton and tie a large knot. Carefully place the needle inside the leek panel and poke the needle through 2cm ( in) from the corner of the bottom edge. Pull the thread though and cut at 3cm (1 in) to create a root. Repeat at 2cm ( in) intervals along this edge. Step four Starting from the top mid-green edge, sew a line towards the bottom approx 2cm ( in) in from one side of the panel, stopping when you reach the light green part of the panel. Repeat at 2cm ( in) intervals until you have sewn four lines. 12 Step five Fold the leek in half, RS together and clip along the edge with fabric clips. Sew along that edge only about 5mm ( in) in and leaving approx 3-4cm unsewn at the top. Step six Turn the leek RS out. Press gently. Repeat to make the second leek.

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roary the lion Forget the king of the jungle â&#x20AC;&#x201C; Lucy Ward's lion is the king of cuddles! Make a Roary in plush fabrics for the purr-fect snuggle buddy.

ion toy 01

YOU WILL NEED

CUTTING OUT

MAKING THE EARS

Q Yellow cuddle plush: 62x50cm (25x20in) Q Brown fleece: 36x28cm (14x11in) Q Scrap of black fleece, for the nose Q Black stranded cotton Q Polyester toy filling Q Matching thread Q Basic sewing kit

Step one Download the lion templates. Step two Pin the pattern pieces onto the reverse side of the fabrics and draw around them. Cut out and mark openings, darts and positions where indicated on the pattern templates. Step three From the yellow cuddle plush cut: Body: one pair. Head: one pair. Head gusset: one. Arms: two pairs. Legs: two pairs. Ears: two pairs. Tail: one pair. Step four From the brown fleece cut: Tail tip: one pair. Mane: one pair. Step five From the black fleece cut: Nose: one.

Step one Pin each ear RS together and sew around the curved edge. Turn RS out. Step two Fold each ear in half vertically, inwards, and pinch the fold to form a cup. Sew a few hand stitches to hold it and then flatten slightly and stitch into place. 01

MAKING THE TAIL

ASSEMBLING THE BODY

Step one Pin a brown tail tip to each of the long tail pieces, right sides (RS) together, then sew. Trim the seam allowance down to reduce bulk. Step two Pin the tail pieces RS together, leaving the top end open for turning. Sew and then turn RS out, using a stick or paintbrush end and pushing the tail tip out. Step three Stuff just the tail tip with a small amount of stuffing. Fold over the top of the tail by 1cm ( in) to hide the raw edge and set aside.

Step one Pin and sew the darts in the body pieces RS together, then trim to reduce bulk. Step two With RS together, lay the body pieces flat. To make sewing easier, pin, tack and sew the arms in first, from points C and D, to halfway down the body. The arms can then be pushed up out of the way, through the opening in the top of the body, while you insert the legs. Pin, tack and sew up to the previously sewn seam. Double check all the fabric has been caught

NOTES Q Find the templates on page 90 (or download from www.simply sewingmag.com/downloads Q Arrows on the templates indicate the direction of stretch. Q Cut the pieces so that the stretch is on the width. The nap on plush fabrics should run downwards, except for the ears which should run upwards. Q Use a 6mm ( in) seam allowance throughout, unless indicated. Q Cut pair = cut mirror image. Q Fasten off at the beginning and end of stitching, unless indicated. Q A walking foot will help with sewing plush fabric.

FINISHED SIZE Approx 29cm (11 in) tall.

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MAKING THE LEGS AND ARMS Step one Pin the arm and leg pieces RS together, then sew. Use plenty of pins and tack first if you prefer. Trim the seams and clip notches in the curves, then turn each arm and leg RS out. Step two Stuff each limb firmly, leaving a gap clear of stuffing at least 1cm ( in) at the top so that the limbs can be more easily sewn into the seams. Tack over the ends to keep the stuffing in place.

ion toy 04

properly in the seams. Leave the top open for turning and stuffing. 02 Step three Trim the seams and turn the body RS out. Stuff firmly, then turn under the raw edge of the fabric at the top. Work a running stitch close to the edge around the neck to gather it and close up the body. Fasten off the thread to secure the gathers.

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. Remember to sandwich one ear into the seam, facing inwards and forwards towards the nose, where marked. Repeat on the other side. 03 Step two To close up the head, pin the side pieces RS together, matching points A and B. Then tack in place so you can ensure you have matched the seams correctly. Sew down from point A to the neck opening and from point B to the neck opening. 04 Step three Trim the seams and turn RS out. Stuff the head firmly and, as you did with the body, turn the raw edge under slightly, sew a running stitch close to the edge and gather. You can always add more stuffing if required to firm up the head, just before you close up. Fasten off with a few stitches to secure the gathers. 05 Step four Use extra-long pins to position the lion's head on its body. Once satisfied with how

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it sits, begin to ladder stitch the head to the neck. You can repeat the stitching once or twice more to make sure the head is secure. 06

MAKING THE MANE Step one Pin the two mane pieces with RS together. Sew all the way around the outer edge using dark-coloured thread. 07 Step two Clip notches in the seams and turn the mane RS out. Step three Push stuffing into the mane, quite loosely. Then slightly turn under the raw edges of the fleece and begin to hand stitch around the inner circle, using small overstitches in dark thread. Add more stuffing, but not too much as the mane should be soft and squidgy, as you continue to sew all around, then close up. 08 Step four Push the mane over the lion's head, and pin it in place behind the ears and under the chin. Hand stitch onto the head using small stitches at the back of the mane.

MAKING THE PAWS Step one Using a matching thread, create toes using long straight stitches. Start in the seam of the foot and make stitches approx 2cm ( in) long onto the top. Then loop back beneath the top fabric and through the front seam to start the next stitch. Do this three times, to form four toes. Use extra-strong thread that will stand up to being pulled tight, or use double thread. 09

Step two Fasten off with small backstitches, then push the needle and thread through to the other side of the leg before snipping off. Repeat for the other leg and both the arms. Step three Using three strands of the stranded cotton, sew four claws on each of the four paws by making a long stitch across the paw seam. The stitches should sit on the top of the toes. 10

ATTACHING THE TAIL Step one Pin the tail to the back of the lion's body, at the top of the dart mark. Pin into position and ladder stitch around it. 11

FINISHING OFF Step one Mark out with pins, or use an erasable fabric marker to draw the position of the mouth and eyes, using the images as a guide for placement. Fasten on with four strands of stranded cotton under the area where the nose will be and make a long straight stitch down the vertical centre seam of the face, then backstitch the curves of the mouth. Step two Take the thread through the inside of the head to the eye area and backstitch the eye on one side. Repeat on the other side. Fasten off again under the place where the nose will be. Step three Position and pin the nose on the head, over the triangular area where the three head seams meet. AppliquĂŠ the nose in place, using black thread. 12

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Everything for the Quilter, fantastic selection of machines, cabinets, habby, fabrics & notions. Friars Street, Stirling. psmc.co.uk • 01786 462 993

ONLINE

To advertise here contact

ON TREND FABRICS An online retailer specialising in fashion fabrics and modern haberdashery for dressmaking. Friendly and professional advice from sewists like you, plus free samples available of all our designs. Follow us on Instagram @ontrendfabrics. ontrendfabrics.co.uk • 01285 720 802

Kerri: 0117 300 8550 or kerri.mckenna@immediate.co.uk

To advertise here contact Kerri McKenna on 0117 300 8550

Advertisement Feature

autumn AUtumn fabric inspiration Get inspired this autumn with these gorgeous fabric finds just in time for your autumn makes!

GATHER ‘N’ SEW

Whatever your project we have a wonderful selection of gorgeous dressmaking and patchwork fabrics, sewing supplies and workshops. gathernsew.co.uk

BECKFORD SILK

Printed silk crepe-de-chine £29.50p/m. Futurist. Inspired by paintings from an artistic

movement in Italy in the early 20th century. This geometric print in Autumn colours will be a great addition to any wardrobe. Printed at Beckford Silk in Gloucestershire, Silk retailers in the UK since 1975. beckfordsilk.co.uk

JUST FABRICS

Cowley Stripe is a cotton fabric in a lovely natural colour with a soft red stripe. It is double width so the stripe can run horizontally or vertically. justfabrics.co.uk

FABRIC HQ

Firelight by Cotton & Steel. Fabric HQ stocks a wide range of fabric and haberdashery supplies as well as delivering a full programme of workshops from our dedicated teaching space, The Make Studio. Visit us in person in Stoke Mandeville, Bucks or order online for speedy delivery! fabrichq.co.uk

ACORN FABRICS

Acorn offers shirt fabrics by the metre. These fabrics range from 100% cotton plains to more specialised compositions like this Bamboo/ Linen blend (Barbados), which is our top summer fabric. acornfabrics.co.uk

CHALK HILL BLUE FABRICS

Chalk Hill Blue Fabrics is based in Worthing,West Sussex. We possess a wide range of high quality quilting fabrics including this print from the range Autumn Album by Color Principle for Henry Glass. Contact us on 01903 230 008 or find us on Facebook.

sue_hards@hotmail.com

templates OP

Here are the templates you will need to make the lion soft toy in Simply Sewing issue 60.

OPEN

ARM Cut 2 pairs

LEG Cut 2 pairs

FOLD

EAR Cut 2 pairs

NOSE Cut 1 TAIL TIP Cut 1 pair

LION TOY PAGE 84 ACTUAL SIZE

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

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MAIN Cut 1 pair

EAR

HEAD Cut 1 pair

OPEN Subscribe at www.simplysewingmag.com

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TEMPLATES OPEN

EN P O

BODY Cut 1 pair

TAIL Cut 1 pair

HEAD GUSSET Cut 1

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FRONT

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 Râ&#x20AC;&#x2122; 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

Silks

100

110

120

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 PINAFOR TIMATE SIZES E6 DRESS, -20

Liberty bag Dining room makes Upcycled shirt dress Easy-sew lap quilt Monochrome stocking Faux fur boxy coat Polar bear toy Advent calendar and more...

E Pi A o d e S t E Si P SkR

Photo: The Nani Iro Sewing Studio by Naomi Ito

PLUS

* CONTENTS AND GIFTS MAY VARY ACCORDING TO TERRITORY. PAPER AND FABRIC GIFTS NOT AVAILABLE WITH DIGITAL EDITIONS.

CHRISTMAS MAKES BOOK

ON SALE THURSDAY 3 OCT WWW.SIMPLYSEWINGMAG.COM

my favourite thing

face value An original print and good memories make this statement shirt a favourite for GBSB's Ben Moore. "Selecting a favourite sewn creation feels very much like having to pick a favourite child. I am also incredibly fickle and fall in and out of love with garments on a whim, but if I had to pick it would probably have to go to the blindfoldprint shirt I made towards the end of last year. It is an entirely emotional choice, as this is neither the most complicated, nor the most accomplished thing I have ever sewn. It is, however, the garment I wore to cheer on my Sewing Bee buddies at the final, and then subsequently celebrated in at the wrap party. As such it is associated with some excellent, if not slightly hazy, memories. It also scores highly having been made in an original Ben Moore Designs print, and one I am particularly pleased with. My love of sewing has always

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been centred around design more so than the act of sewing itself. Although I cannot deny that the calming mindfulness that comes with it is a bonus for someone as uptight as myself! I’ll avoid going too much into the genesis of this print as some of it is probably considered inappropriate for inclusion in this, or any respectable magazine. Safe to say, it means a lot to me. On an entirely aesthetic level, it’s mustard and has my face on it – what more could you want? I used Simplicity's 8427 and even made it as instructed, which is practically unheard of for me. The reality is that it came down to time, in true Bee style…I may or may not have been attaching buttons on the train journey down to London." Visit www.benmooredesigns.com

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28 NOVEMBER – 1 DECEMBE HARROGATE CONVENTION CENT HARROGATE

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