Sew Saturday at Sew Creative

Sew Saturday at Sew Creative Challenge one, to make McCalls 7582 dolls

What a day packed full of fun challenges. Sew Saturday at Sew Creative in Petersfield was a jam-packed event, which coincided with the shop’s third anniversary too so it really was a day of celebrations.

Team challenge 1 – McCalls 7582

Customers were invited to participate in one of two team challenges – the first in the morning to make a pair of dolls from McCalls 7582. The pattern pack includes a number of cloth dolls with different outfits including shoes and hair variations.

The dolls, lookalikeys of Sharon, Clare, Jo and Steve

The Blue team, lead by Clare had to make dolls of Steve and Sharon whilst Sharon’s Pink team had to fashion their dolls into Jo and Clare. Lots of hilarity, doll stuffing and fevered activity resulted in these amazing dolls. Mini Jo has four arms – so she can continue to multi task! Mini Steve was suitably adorned with gold rim glasses whilst mini Sharon – smaller than the rest (as is she) had a lipstick in hand. Well she is a very smart lady.

Little Clare also has a mini copy of the pattern McCalls 7582!

 

 

 

 

 

 

 

Whilst all this was going on, other areas of the shop offered alternative activities, such as programming and stitching out your name on the latest Janome Horizon sewing/embroidery machine. The complete piece of stitched graffiti will be displayed in the shop. Or you could hand stitch a patch to a chair – the aim being to cover it completely throughout the day.

 

A really simple project to sit and sew whilst chatting with friends

Happy Hearts

If you preferred something quieter and comradely, you could sit down at a table covered with felt hearts, stuffing and embroidery floss and make a hanging Happy Heart. A moment of relaxation, chatting to fellow customers and learning different hand stitching techniques from each other.

 

The Live challenge make-overs: hat into sewing basket and dreamcatcher

Live challenge

Back to the bustle of the shop, Jo (owner of Sew Creative and organiser of the Sew Saturday adventures) and I were challenged to turn something into something else in30 minutes. We found out what that would be 5 minutes before we had to start. Both had spent a sleepless night the night before, trying to think of what we would do with a T-shirt, pair of jeans, tote bag etc – but neither of us had thought about a hat! So thinking on our feet, Jo chose to make a dream catcher and I decided on a sewing basket. With the clock counting down we began, and to add to the ‘fun’ we had an audience asking questions at the same time and were filmed for a live facebook feed! No pressure then….. The results may not be magnificent, but they were achieved within the 30 minute time slot. Both of us were relieved when it was over and time for the next customer team challenge.

 

Upcycle challenge

Again new team blue, lead by Clare and team pink led by Sharon (both these lovely ladies are regular tutors at Sew Creative) found out what they had to upcycle moments before the 1.5 hour challenge began. It was a curtain, pair of fluffy socks, long sleeved t-shirt and belt. Fortunately both Sharon and Claire were full of ideas immediately – hats off to them (excuse the pun) and away the teams went.

 

The pink team’s upcycled ensemble, skirt, gypsy style t-shirt, armwarmers and waistcoat

The Pink team turned the curtain into a fishtailed skirt with elastic waist and waistcoat using the gathered top as a ruffle around the waistcoat edge. The T-shirt had the sleeves shortened, the neckline removed and a gypsy style gathered top instead to go with the Spanish theme. The socks were turned into arm warmers (pretty and practical) whilst the belt became a headband. One of the team bravely wore the ensemble for the final reveal.

 

Impressive results from the Blue team – curtain, t-shirt and fluffy socks into pinafore, bunny and bag, PJs and hat with pom pom

The blue team went down a completely different route – making a pinafore dress for a toddler from the curtain. The t-shirt was turned into a little top and leggings, both of which were trimmed with a little of the fluffy socks. Another team member made a cute hat with pom pom (from the curtain and more of the socks) whilst team leader Clare made a very cute bunny with pink fluffy ears and body from the curtain which she popped into a bag made from yet more of the curtain (with strap from the belt).

 

It was really impressive how the teams worked together and against the clock to produce something very wearable.

 

So another successful Sew Saturday at Sew Creative. It was wonderful to see how the customers and staff are such a community, sharing their passion for sewing on this special Sew Saturday. And of course, I bought some fabric too – a lovely soft jade coloured jersey which will be a new Vogue Pattern shortly!

Pretty Vintage Pinny

Make this Pretty Vintage Pinny, Vogue Pattern 8643
Make this Pretty Vintage Pinny, Vogue Pattern 8643

Pretty Vintage Pinny

This pretty vintage pinny is just one of the patterns available in the Vogue Pattern range of retro styles. Vintage designs are still incredibly popular so I’ve made this retro-style pinny (Vogue 8643) all ready for a swish dinner party!

 

The apron came together easily although it does have some unusual shaping, which adds to the vintage style. There are two side panels which are gathered to a shaped centre panel. Big patch pockets can be trimmed along the top with lace or ric rac, or have appliqué or lacy edging.

I made view A which has lace edging along the top edge – a nice touch with a definite vintage feel.

 

Patch pockets

The first step was to make the patch pockets. Step one is to add the lace edging along the seam line of the pocket top. With right sides together, stitch in place so the straight edge of the trim is along the seam line and the scallop edge hanging down towards the pocket. Then add the pocket lining sandwiching the lace trim between the layers which are placed right sides together. It’s best to work with the pocket front uppermost so you can see the stitching holding the lace trim in place, and therefore sew just to the left of the first row of stitching so it will be encased within the seam.

 

Continue around the pocket and to get a smooth curved seam, at the curves, stitch slowly, stopping with needle down, raise presser foot slightly and pivot the fabric. Leave a turning gap in the bottom edge.

 

Again to help the curved seam turn through smoothly and without visible lumps and bumps in the seam area, clip and notch the curved seams of the pockets – cut little wedge shapes from the seam allowance at the outer curves.

Edge stitch the pockets to the side front pieces
Edge stitch the pockets to the side front pieces

Edge stitch the pockets in place

The pockets are then edge-stitched to the side panels – edge stitching is just stitching close to the edge. To achieve a straight seam, nicely on the edge, use the inner edge of the presser foot as the guide and move the needle to the far right  (using the stitch width button to move the needle when sewing with a straight stitch).

 

 

Add gathered side panels
Gather the top of side front pieces to fit into the curved front
Gather the top of side front pieces to fit into the curved front

The side panels are then gathered and attached to the front panel but first, it is important to stay stitch the inner curves on the front panel, to prevent them stretching out of shape as you sew and attach the sides (to stay stitch – stitch with a standard stitch length just within the seam allowance, close to the seam line.) To gather the top of the side panels, sew just inside the seam allowance with a long stitch length of 4-5mm. Pull up the bobbin thread to gather the fabric to fit the inner curve of the front and sew together.

 

Trim added to top edge

Attach trim to the top edge just like the pockets
Attach trim to the top edge just like the pockets

The top of the apron has ties and a facing, but before adding these, first attach ric rac or lace trim to the top edge of the front piece p following the same technique as attaching the trim to the pocket top.

 

Ties stitched and attached
Attach ties to the back section for a neat finish
Attach ties to the back section for a neat finish

The ties are stitched, right sides together around the pointed ends and up to a large circle near the other end beyond which is left unstitched in order to insert the apron back into the tie end neatly. This is an unusual way of attaching ties, but does produce a neat finish.

 

The apron is then finished with an interfaced facing across the apron front to give a waistband effect.

 

I hope you enjoy making your own pretty vintage pinny.

Little Black Dress – Vogue Patterns Cocktail Hour

Vogue Pattern 8997

My Little Black Dress is the second version of Vogue Pattern 8997 I’ve made recently as part of the Vogue Patterns Cocktail Hour collection. My first version is in a bright yellow cotton with big blue spots – fabric I’d had in my stash for over 20 years and which is actually furnishing fabric. But it holds the shape beautifully and makes the full skirt really stand out. Unusually for me, I’ve now made it again, but this time as a real cocktail hour dress, my first Little Black Dress!

The beautiful fabric without any interlining yet

I say unusually, because I very rarely make a pattern up twice – mostly because of the steady supply of new designs that are introduced – and which just call out to be made! But this time, it was the perfect pattern for the fabric I wanted to use – which again I have had in my stash.

The Fabric

I bought it from Sew La De La at a Knitting and Stitching show a few years ago with a view to make just this kind of dress. It is a black net with a swirling ribbon design appliquéd on it resulting in a very textural piece of fabric. Much of the fabric is see-through and the swirling pattern is busy, so the pattern needed to be simple! Hence Vogue Pattern 8997.

 

The beauty of using the pattern again is that I had already done the full bust adjustment needed (which was minimal because this design has Custom Fit bodice pieces for cup sizes A, B, C and D which are such a boon if you are full busted).  It’s also a Very Easy Vogue design – which means simple lines and minimal piecing – another good thing for this busy fabric.

 

I have to say, the fabric was a pig to sew too! But so lovely I persevered! The undulating appliqué, varying from thick rose clusters to thin trailing ribbon tails meant it was difficult to sew through. I used a sharps needle, size 80/12 – a bit big for the netting, but just right for appliqué.

Pattern adjustments
Fabric interlined with a flesh coloured lining

I pretty much followed the pattern, making the same view as before. The bodice is supposed to be interfaced completely, but of course, I didn’t want to do that and ruin the transparency and lightness of the fabric, so I interlined it instead with a flesh coloured lining (cutting the pattern pieces again in the interlining fabric and then sewing them around the edges to the reverse of the pattern pieces. From then on I treated the joined pieces as one and continued to construct the garment). I then lined the whole garment with a nude colour lining which also doesn’t detract from the lightness of the netting nor deaden the impact 3D appliquéd ribbon.

 

I did attach the lining so the right side faces the wrong side of dress rather than the usual way of having wrong sides together. This means that where you can glimpse the lining through the transparent netting, you don’t see any seam allowances. I also left gaps in the lining at the pocket position, and made the pockets out of the lining fabric (less bulky) so that they slipped inside the lining too – again making them invisible.

 

Some parts of the base fabric didn’t have the applique so I needed to cover these
I covered bare patches of netting with remnants of the appliqued pieces

At a couple of places, where I had to use the full width of the fabric for the full skirt pieces, there were patches without any of the appliqué, so I cut some spare fabric from remnants and stitched it in place over the netting – seamless joins (and as the pattern of appliqué is fairly random, no careful pattern matching was necessary).

Invisible Zip Insertion
An invisible zip is just that, virtually invisible!

I chose to put in an invisible zip (my preferred zip method anyway). It went in easily and is only visible by the little zip pull at the top.

To hem the fabric, I used a rolled hem on an overlocker. It gave a neat finish without worrying about hem allowance being visible from the right side and as the fabric is bouncy and bulky (although very light and floaty too), I didn’t need anything to add support in the hem – the skirt flares out beautifully all on its own.

Which shoes!?

Now the big decision is which shoes to wear with it when I attend the Cocktail Hour party at the Knitting and Stitching show in October (Alexandra Palace). Do I opt for the black and gold sandals, the silver/gold sandals which change colour depending on the light, the ultra high, golden heeled black and gold sandals or my newest acquisition, the dusky pink glittery sandals. Or maybe, I need four occasions to wear all four!!

Sew Creative Challenge 2017 using McCalls patterns

Winners of the Sew Creative Sewing Bee challenge 2017
Heidi and Grace, winners of the Sew Creative Sewing Bee challenge 2017

I had the pleasure and pain of  being part of the final day for the 2017 Sewing Bee Challenge for Sew Creative last weekend. I say pain because all the entries, without exception, were so good, it made picking out winners devilishly difficult! So not just a challenge for the entrants, one for me too! I also gave a talk about my career and responsibilities as Brand Ambassador for the McCalls Pattern Company.

 

Sew Creative is a lively fabric shop in Petersfield, Hants which is always abuzz with activity, classes and happy customers. So it’s no wonder that the aptly named annual Sewing Bee challenge attracts so many entrants.

The Sew Creative Challenge

Customers buy a Challenge box put together by Jo, Sew Creative’s owner, which has the materials needed to make the three challenges. This year it included two co-ordinating fat quarters, one with a whale print on it, a plain tote bag and a McCalls pattern.

McCalls 6095 used in the Superb Stitching Challenge by entrants to the Sew Creative Sewing Bee challenge
McCalls 6095 used in the Superb Stitching Challenge by entrants to the Sew Creative Sewing Bee challenge

Superb Stitching Challenge with McCalls 6095

The entrants were given a McCalls craft pattern (6095) and tasked with making a sewing machine cover, apron or circular organiser from the pattern. They had to use one piece of Bee fabric provided in the Challenge Box, but could add co-ordinating fabrics, trims and embellishments.

The challenge was to stitch superbly and add techniques to embellish such as appliqué, piping, quilting and binding etc. What an array of choices – from multi-pocketed craft aprons to organisers trimmed and filled to sewing machine covers with beautiful embellishments.

This was probably the hardest category to judge because the entries were so diverse but the same! (The same three options, but with so much individuality).

My chosen winner was beautifully embellished with appliqué and hand embroidered lettering, finished inside with quilted lining and bias binding around the edges.

The Fat Quarter challenge produced amazing and diverse results
The Fat Quarter challenge produced amazing and diverse results

Two fat quarters Challenge

Contestants could add trims and embellishments and make anything they wanted but had to use only the two fat quarters for fabric. The collection of projects submitted was outstanding – ranging from cute lined waistcoats for tots to soft toy Whales, bags, wall hangings and booties. Picking out one to win the Category was very hard, but in the end I plumped for a Wash Caddy – with pockets and straps for all sorts of lotions, potions, toothbrush etc. I liked that it was different and well stitched, but when I then found out it had been made by Matt, who is visually impaired too, I was amazed all over again!

My favourite tote to... entry is a lampshade, hand painted and stitched
My favourite tote to… entry is a lampshade, hand painted and stitched

Tote to…. Challenge

The next challenge was to make-over a calico tote. Again the range of ideas was fabulous – many creating something so different its origin was hard to believe! I loved the wall tidy with lace pockets – very vintage inspired. Some had deconstructed the bag, dyed the fabric and then turned it into something else. Others had added amazing hand stitching, bargello panels down the sides etc.

Pat made a cute doll with clothes for the Tote bag challenge
Pat made a cute doll with clothes for the Tote bag challenge

The winner for the Tote Bag challenge was a lovely doll with clothes by Pat. Such a beautiful doll, very cuddly and I can imagine it will be loved by a little girl.

I also chose a ‘Wendy Wow’ winner for this category –  a lampshade created from the bag front and back. It had been hand painted and then hand and machine stitched creating a beautiful scene which was then turned into a lampshade.

Grace, winner of the Children's Sewing Bee tie-dyed the tote and turned it into a little dress
Grace, winner of the Children’s Sewing Bee tie-dyed the tote and turned it into a little dress
McCalls 7551 pattern was used by the the children to make Alphabet cushions for their stitch challenge
McCalls 7551 pattern was used by the the children to make Alphabet cushions for their stitch challenge

Kids can sew too

Of course, there was a Children’s competition running alongside the main one and there were six excellent entrants for this. They also restyled a tote and used fabric provided to stitch a cushion from a McCalls pattern (7551). Their pattern included alphabet cushions which involves sewing around curves and corners, and being able to clip and turn through smooth edges.

Again the tote challenge showed their creativity. The winner Grace had tie-dyed her tote and turned it into a baby’s dress with patch pocket and tie shoulder straps. But as always, all of the entrants deserved to win a prize and of course, all did – a bag of goodies from Jo and Sew Creative.

The overall winner, Hazel made cute fabric booties, top hat from the tote and appliqued, patchwork embellished sewing machine cover with piping and quilting
The overall winner, Heidi made cute fabric booties, top hat from the tote and appliqued, patchwork embellished sewing machine cover with piping and quilting

Overall winners

As well as having category winners, there had to be an overall winner. Fortunately for me, there was a short list but even so it was a task and a half! Finally I chose Heidi who had made a pair of cute booties from the fat quarters with decorative stitch detail, a top hat from the tote – with black keyboard and notes and an appliquéd machine cover. The top had had a tune around it which Heidi later said was ‘Let it Bee’ – so appropriate!

Sally Ann created a collection that we all considered Outstanding
Sally Ann created a collection that we all considered Outstanding

We then had an Outstanding Entry winner- Sally Ann whose collection of Challenges were fabulous – with a fish metal frame bag made from the fat quarters, ice-dyed baby dress from the tote and bee-hive machine cover from the pattern challenge.

So a fab day in a great shop that is understandably a very successful enterprise. Indeed, the collection of delicious fabrics tempted me to add to my stash! I bought the softest, cuddliest double sided fleece to make a blankie and a new flower printed cotton to make a full skirted dress.

It had to be done!

Enjoy sewing, Wendy

Butterick by Gertie Vintage style Dress

B6380_aI made this fabulous vintage style dress from Butterick 6380 which has a sweetheart neckline created by the tabs on either side. A nifty idea!

 

I made up the pattern to check the fit and finish for this design. Usually I have to do a full-bust adjustment before I can cut into fabric, but first, I always check what the finished garment measurements say (on the pattern envelope) and what the garment measurements say on the pattern tissue. Noting that there was a generous extra 5 inches between actual bust and finished garment measurement, I didn’t think I’d need to do the full bust adjustment but I did double check by doing a tissue fit – pinning together the front and back pieces, gathering the fabric below the bust as shown on the tissue etc. It was fine without the FBA so I launched into the fabric!

Gertie dress 1I’ve used a red cotton print with white spot that I’ve had in my stash for some time. It is  a lovely medium weight fabric so holds the shape of the skirt well. I also lined it with a poly/cotton – not only do I prefer a cotton lining, especially for summer dresses where a polyester lining can get hot and sticky, but again, it helps hold the shape better I feel.

I also decided to use the Surface Mounted zip insertion method because I had a pretty red zip with lacy edging that fitted the bill perfectly. I blogged about how to do this insertion in June’s Zip Tricks – Surface Mounted Zips so do take a look if you want the step by step instructions.

gertie dress2To hem the dress, after allowing it to hang for 24 hours, I cut the edge straight, overlocked it and then turned up a narrow hem of just 1cm and top stitched it in place. This is a quick way to deal with a curved hem such as this and avoids having too much excess fabric in the hem allowance. The alternative is to stitch with a long stitch length (4.5-5) about 13mm from the edge. Turn up the hem allowance tucking raw edge under and pin in place, slightly gathering the hem allowance where necessary to ease in the excess. The excess gathers should only be in the hem allowance and invisible from the right side.

gertie dress 3I’m pleased with my Gertie dress and luckily have a pair of red and white spot shoes that match exactly!

 

Enjoy sewing. love Wendy

Zip Tricks – Surface Mounted Zip

front of dressGone are the days when a zip was simply inserted with teeth covered into a centre back seam. A fashion favourite nowadays is to lay bare the teeth or even mount the zip onto the top and use the zip fastening as a design feature. With the introduction of pretty zips and decorative teeth, it makes sense to show them off. I’ve used the Surface Mounted zip insertion method on my zebra dress

 

Butterick 4386

Dress details
The dress I had chosen is a simple shift dress with front and back darts for shaping through the torso. It is Butterick 4386, available in sizes 8-22. I decided to reshape the neckline as I prefer not to wear high round neck garments (I don’t feel they suit a fuller bust, so prefer to lower it or add a V-neckline). And as the fabric is so dramatic, decided to add a surface mounted zip to further enhance the design.
close up of zip

Surface Mounted Zip

The ideas of a surface mounted zip is that it is totally on display so it’s great when using a zip with decorative teeth and pretty edges like this zip with lace edge tape.

  1. Neaten the raw edges of the seam allowance into which the zip is to be inserted and then fuse strips of interfacing, 2.5cm wide to the wrong side of the fabric in the zip placement area.
  1. Still working on the wrong side of the fabric, draw and then machine baste the zip placement lines 2cm either side of the neatened edges and the length to just below the zip stop..
  1. Fold the dress sections, right sides together and stitch the remainder of the seam from bottom of basting stitches to hem, taking a regular 15mm seam allowance.
  1. At the bottom end of the basting, snip diagonally into the seam allowance down to the corners, taking care you don’t snip the basting. Press the triangle at the base down to the wrong side.
  2. Turn the seam allowance for the zip opening to the RIGHT side along the machine basting. Press.
  3. Working on the right side of the fabric, place the zip, right side down hanging down towards the hem and with the zip stop just below the horizontal basting. Stitch across the bottom of the zip tape across the teeth section only, just below the zip stop.
  1. Bring the zip up and over the exposed seam allowances so that the teeth back of dressare over the gap between the two fabric pieces, pin and baste in place. Note that some seam allowance may extend beyond the zip tape on either side. Attach a zip foot and machine stitch the zip tape to the seam allowance close to the teeth.
  1. Unpick the basting, and then carefully trim back the seam allowance only from under the zip tape, Take care you don’t cut the garment fabric underneath nor the zip tape.
  1. Still with the zip foot attached, stitch down both long edges of the zip tape again, effectively encasing the raw edge of the zip opening under the zip tape. NB: If working with a lacy edged zip tape like the one I used, zip just inside of the scallop edging.

Sewing for Summer – Feeling Slightly Spanish

McCalls 7046 - perfect for my stretch jersey fabric
McCalls 7046 – perfect for my stretch jersey fabric

tiers of the dressI’ve had this brightly printed stretch jersey fabric for over a year, waiting to find the right pattern to make up. Now I have it! I chose McCalls 7046 which is an easy design including a top with two sleeve choices and a dress with or without sleeves. You can also opt for one long ruffle, or add a second shorter ruffle too.

gathered sidesI particularly like the ruching at the sides, created by attaching elastic to the side seams – stretching it between marked points to create the gathers. I feel it is more flattering for those of us who don’t have a perfectly flat tummy!

 

I opted to make the dress with short sleeves for summer
I opted to make the dress with short sleeves for summer

I also want to wear the dress in the summer, so chose to add the short sleeves from the top, rather than long sleeves (or the sleeveless option). They are cut from the same pattern piece as long sleeves, so there was no problem fitting them. Again these have elastic stretched part way up the centre on the inside to ruch them.

 

Cutting out probably took the longest as you need to cut the circular tiers from four pieces of fabric. I didn’t follow the pattern layout exactly because my fabric was wide enough to cut from two layers at a time but it is worth taking time to cut out – it does mean the making up is quicker as all notches match perfectly etc.

Sewing time was just over 2 hours – I stitched most of the seams on an overlocker, just finishing the neck and sleeve edges by sewing machine and sewing the elastic to the side seam allowances using a triple zigzag stitch. I used a stretch needle on the sewing machine because the fabric has two way stretch – and this prevented getting skipped stitches.

 

lettuce edged rolled hemFor the hem of both tiers, I decided to use a rolled hem on the overlocker, but stretching the fabric slightly as I stitched to create a frilly lettuce edging. I think this adds to the slightly Spanish feel of the dress

 

It definitely lived up to it’s promise of being easy to sew – not just easy but quick too. So I can wear it to the Edinburgh Knitting and Stitching show this week!

fabric under presser footTIP: It’s often difficult to remember which type of needle is in the machine when you return to it, so I keep a scrap of the latest fabric used under the foot to remind me.

 

My La La Land Cocktail Hour Dress

I loved the dress, which I wore with a big petticoat, bolero jacket and black court shoes
I loved the dress, which I wore with a big petticoat, bolero jacket and black court shoes

I decided to combine two projects in one by making one of the lovely new Cocktail Hour Collection dresses at the same time as making it in a brilliant canary yellow – the result, my very own La La Land dress.

 

I used Vogue Pattern 8997, which is a Very Easy Vogue design with Custom Fit for A,B, C and D cup sizes which are such a boon if you have a fuller bust. I’ve made view B, the sleeveless option with full skirt which I can wear with a cropped jacket to cover the arms.

As usual I took my measurements and then following the chart on the first page of instructions, I could see that I was just over a D cup. It’s important to check your size every time you make a pattern and compare these with the size guide on the envelope of course, but with the custom fit bodice pieces, you also need to determine which cup size to cut out – and it is not the same as ready to wear! When buying a bra I can be E, F or even a G, depending on the bra style. For patterns, I am just over a D cup – I like that!  Because I was just over, I knew all I had to do was add a little to the seam line to cater for the extra ½” I needed. It’s one of the great things about the custom fit patterns, you don’t have to do a full bust adjustment, the custom fit pattern pieces do it all for you.

The other thing I decided to do was raise the scoop back so that it would cover my bra strap as otherwise it is rather low – lovely if you can go braless and for evenings, but not right for me. I did this by using a French curve to redraw the curve, raising it up by approx 8cm (3”).

 

My version of Vogue Pattern 8997
My version of Vogue Pattern 8997

I chose to make the dress in a soft furnishing cotton I had in my stash for years and years – too many to remember! I washed it first which again is something you should always do – but its particularly important with soft furnishing fabrics that often have a ‘finish’ on them and are prone to shrinkage.

 

The dress calls for lining of bodice and skirt, but because of the weight of fabric I only lined the bodice, leaving the skirt unlined (and I wear a big net petticoat to give it volume anyway). I started by tissue fitting the bodice sections together to check – again something I always do as usually I have to alter patterns to fit my figure – high bust is a size 12, with full bust at 18-20, midriff a size 12, waist size 16-18, hips 12. I did need to adjust the fullest part of the curve of the bodice as it was too high for me – another sign of age unfortunately is the bust point moves south! Once I’d done that I cut the fabric and lining and then made up the lining first as a kind of toile so I could make any further adjustments to the main pieces before making them up.

 

The original pattern image, Vogue Pattern 8997
The original pattern image, Vogue Pattern 8997

I inserted an invisible zip rather than a centred zip as per pattern instructions because it is definitely my zip of choice. Finally I left the dress to hang for 24 hours before hemming and then once it was straight, I overlocked the edge before turning up a narrow hem and top stitching. This is the easiest method when working with a full skirt as it avoids the need to ease in fullness. However, if the fabric I’d been working on was lighter weight, I would have eased in the excess – by stitching with a long stitch length about 12mm from the edge, turning up the hem allowance, gently gathering the stitching to ease in any fullness as you turn under the raw edge. Any gathers are on the hem allowance only and the outside is lovely and smooth.

 

wendy with cocktailI’m pleased with the result, the shaped waistline gives a flattering silhouette and I love the full skirt. It’s such a lovely bright colour too that it will see me through summer beautifully. So now I am ready to sip a cocktail or two in the sunshine!

Cocktail Hour Sewalong – it’s started!

 

Make your own cocktail dress and join the Sewalong parties  Vogue Pattern 1471
Make your own cocktail dress and join the Sewalong parties Vogue Pattern 1471

Join the 2017 Sewalong and make your self a lovely little cocktail outfit. A cocktail dress, or little black dress (LBD) is an essential item in any woman’s wardrobe. Useful to take you from drinks to dinner, it can be long, short, sleek and fitted or frilly and full.

 

It doesn't have to be black to be a fabulous LBD. Vogue Pattern 1208
It doesn’t have to be black to be a fabulous LBD. Vogue Pattern 1208

The Cocktail Hour Collection has been put together by the team at Vogue Patterns to provide a great mix of styles to suit all figure shapes and styles. The idea is for everyone to make something to fit their lifestyle and of course, whether it is shown in traditional black or not doesn’t matter one jot. As sewists, we get to choose in what fabric and what colour we make our own unique outfit. So whether you want to make the traditional knee skimming LBD, or a classic trouser pattern to wear to your special event is entirely up to you.

The first step is to choose styles that suit your body shape which can eliminate a lot of pattern adjustments. Vogue Patterns has a Figure Flattery symbol system to help you determine your body shape and thus choose patterns to suit you.

Figure flattery shapes are shown on most Vogue Patterns to help you choose designs to suit you
Figure flattery shapes are shown on most Vogue Patterns to help you choose designs to suit you
  • Inverted Triangle – large bust and/or broad shoulders with narrow hips
  • Triangle – Small bust and/or narrow shoulders with full hips and/or thighs
  • Rectangle – Balanced on top and bottom, but boxy with little or no waist definition
  • Hourglass – Equally balance on top and bottom with a trim waist

Ease and Designer ease

Another elegant Cocktail hour design , Vogue Pattern 1532
Another elegant Cocktail hour design , Vogue Pattern 1532

Another thing to consider when deciding which designs suit you and your lifestyle is to look at the descriptions on the back of the envelope which includes how a garment is designed to fit. The difference in the body measurement and the garment measurement allows for ‘ease’ and Designer ‘ease’. Garments are designed to range from close fitting through to very loose fitting. A close fitted garment will have from zero to 7.3cm ease so will be that much bigger than actual body measurements at bust and 4.8cm at hips whilst a very loose fitting garment may by over 20 – 25cm at bust depending on the type of garment. So do check the description and the Finished Garment Measurements (on the back of the envelope), compare these with your own body measurements and even a similar garment in your wardrobe.

Sewing ratings

It doesn't have to be a dress if you prefer an elegant floaty jacket to wear with trousers, Vogue Pattern 1505
It doesn’t have to be a dress if you prefer an elegant floaty jacket to wear with trousers, Vogue Pattern 1505

As well as choosing a design by the style, do take a look at the sewing rating which will help you determine whether you have the skill base and/or time to make your chosen pattern. Nothing is more frustrating than getting bogged down with techniques that are strange to you, or simply running out of time to finish it perfectly!

Very Easy – these are quick and easy to sew, great for beginners or those with limited time available. They include only limited construction methods, little hand sewing and simple fitting. Easy to sew fabrics are recommended.

Easy – these will have more details than the Very Easy category but will also be easy to sew so ideal for those with limited sewing knowledge or time. There will be more pattern details requiring simple techniques and a few with more detailed techniques. Some fitting knowledge is also needed.

Average – perfect if you have more time to sew and more experience. You will find more challenging designer techniques, tailoring and unique construction details. You will also need to master more fitting and inner construction. Fabric choice will be more varied, ranging from the stretchiest knits to synthetic leathers and suedes.

Advanced – the best of the European and American Couture patterns will be advanced. Perfect for those who like a sewing challenge, professional tailoring and fine couture techniques, you can expect intricate fashion shaping, hidden construction details, touches of hand sewing and bias draping. Fabric choice will be totally varied ranging from sheers and laces to beaded, sequin, furs and more.

 

Have fun deciding which of the Cocktail Collection you wish to make and do share. We will be adding blogs and pictures on our website of course and the event will culminate in special events – so watch this space.

Quick guide to Hemming

This McCalls 7531 dress pack is a Learn to Sew design finished with a top stitched hem
This McCalls 7531 dress pack is a Learn to Sew design finished with a top stitched hem

Often the last technique used to complete a garment it is still worth considering the method you will use to hem, which  may depend on the type of garment and fabric used. For instance a stretch fabric made into a fully A-line skirt can look fabulous with a lettuce edging. Equally stretch fabrics are often finished with a twin needle, top stitched hem whereas a woven fabric may have a blind hem. Whatever method chosen, there are also some general hemming tips to ensure that the finished garment hangs beautifully.

Lettuce edging is a lovely finish for full skirts on stretchy or lightweight fabrics
Lettuce edging is a lovely finish for full skirts on stretchy or lightweight fabrics

Hemming tips

  • Allow the garment to hang for 24 hours before hemming, particularly if working with stretch knit fabric or a garment cut on the bias. This allows the fabric to drop and settle so that the edge can be cut level before hemming.
  • Measure up from floor to desired length, wearing the heel height that will be worn with the outfit to ensure both front and back are even.
  • Place pins horizontally around the hem length required, then hold up the hem allowance with pins placed vertically. If necessary, cut the hem allowance evenly all the way round.
  • Hem weights are used on tailored skirts, dresses and jackets to provide a nicely weighted hem that will hang straight. These can be a fine chain laid along the hem fold, or small button shaped discs sewn into the front edges and back seams.
  • How much to leave for a hem allowance depends on the garment style and fabric being used. As a general rule, allow a narrower hem allowances of 3-5cm on lightweight trousers, circular and A-line skirts and dresses. Straight dresses, skirts, jackets and coats benefit from a deeper hem allowance of 5-7cm.

 

Top stitched hem – this is the easiest and quickest hem finish. Fold the hem allowance up at the hem depth and then fold it in again so the raw edge meets the first fold and is encased. Pin and stitch close to inner fold. Use matching thread so the stitching is almost invisible, or contrast thread and decorative stitch to make a feature of the stitching. If working with heavyweight fabrics, or very full skirts, neaten the raw edge of the hem allowance then turn up just once.

Linings are usually stitched with a top stitched hem and should finish just above the main garment hem.                                                                                     

Use a twin needle to stitch a hem which then replicates a 'cover stitched' hem
Use a twin needle to stitch a hem which then replicates a ‘cover stitched’ hem

Bright Idea: Use a twin needle to create a top stitched hem that looks like the cover-stitch found on ready-to-wear garments. Alter the top tension to 7 and use two spools of thread for the needles. The bobbin thread will then zigzag between the two to create a zigzag stitch underneath, with two perfectly parallel rows on the top.

Handling curved hems – A curved hemline needs an extra step to ease in the fullness before turning up to prevent excess bulk, bumps and ridges in the hem area. This effects full skirted dresses or bias cut dresses and skirts. To achieve this, use a long stitch length to ease stitch about 6 mm from raw hem edge and then gently gather the hem allowance by pulling up the bobbin thread. Spread gathers evenly and turn up hem. The gathers will be in the hem allowance only.

Blind hem – this is a good choice of hem for medium to heavyweight fabrics, smart clothes, jackets, dresses, trousers etc. Use a blind hem foot, which has a guide against which the folded fabric sits and select a blind hem stitch (a row of straight stitches and occasionally zigzag stitch to the left). First neaten raw edge and then turn up hem allowance. Holding it in place, fold it back on its self so that about 6-13mm of hem allowance protrudes to the right. Place under the foot so the folded fabric butts against the left edge of the protruding guide on the foot. As you stitch, he straight stitches are formed in the single layer of hem allowance and then the zigzag swings to the left to catch the folded hem allowance and garment. Once finished, flatten out the hem and press with a press cloth to embed the stitches. All that will be visible from the right side is a tiny ladder stitch.

McCalls 7513 is a lovely tailored jacket
McCalls 7513 is a lovely tailored jacket

Tailored hems – adding a strip of interfacing to the wrong side of the garment within the hem allowance will help the drape of tailored garments, producing a lovely crisp finish. Simply cut a length of fusible interfacing the width of the hem allowance and press in place. Neaten raw edge of hem (with overcast stitch or bias binding) and turn up then blind hem or hand stitch hem allowance to the interfacing only. This ensures that there no stitches visible on the right side. Adding dress weights will also aid the drape.

Bound hem – this is another technique that works well with tailored garments or heavyweight fabrics where a single turn of hem allowance is preferred. Open out and stitch bias binding to the right side of the raw hem edge. Press then fold up hem allowance and either blind stitch or hand stitch binding to the inside of the garment.

Use a rolled hem foot to create rolled hems quickly and easily
Use a rolled hem foot to create rolled hems quickly and easily

Rolled hem – this type of hem is particularly suited to lightweight and transparent fabrics where the hem allowance would be visible.  Using a rolled hem foot is ideal as the front of the presser foot has a curl through which the fabric edge is fed and rolled as it is stitched close to the edge. The hem allowance is minimal, a scant 6mm. A rolled hem can be stitched without a specialist foot. Press up 3 mm hem allowance and stitch close to fold then trim any excess hem allowance away. Fold up again so stitching is just inside hem allowance, press and pin. Stitch again close to the inner fold.