SEC RETS OF

Make your own d ivine

bras & ca miso les
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in 2022 with funding from
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 THE

SECRETS OF SEWING
ape THE
SECRETS OF SEWING

| GAVE.
Katherine Sheers & Laura Stanford

Photography by Ali Allen

Kyle Books
 First published in Great Britain in 2014 by
Kyle Books, an imprint of Kyle Cathie Ltd
192-198 Vauxhall Bridge Road
London SW1V 1DX
general.enquiries@kylebooks.com
www.kylebooks.com

10987654321

ISBN 978
0 85783 237 5

Text © 2014 Katherine Sheers and Laura Stanford

Design © 2014 Kyle Books
Photographs © 2014 Ali Allen
llustrations © 2014 Laura Stanford
Projects and Patterns © 2014 Katherine Sheers and Laura Stanford

Katherine Sheers and Laura Stanford are hereby identified as the authors of this work in
accordance with Section 77 of the Copyright, Designs and Patents Act 1988.

All rights reserved. No reproduction, copy or transmission of this publication may be made
without written permission. No paragraph of this publication may be reproduced, copied
or transmitted save with written permission or in accordance with the provisions of the
Copyright Act 1956 (as amended). Any person who does any unauthorised act in relation
to this publication may be liable to criminal prosecution and civil claims for damages.

Project Editor: Judith Hannam

Editorial Assistant: Claire Rogers
Copy Editor: Karen Hemingway
Designer: Lucy Gowans
Photographer: Ali Allen
llustrator: Laura Stanford
Production: Nic Jones, Gemma John and Lisa Pinnell

A Cataloguing in Publication record for this title is available from the British Library.

Colour reproduction by ALTA London

Printed and bound in China by 1010 International Printing Ltd

The names of manufacturers and products used herein are provided for illustrative and
information purposes only and there is no intention by the authors to infringe any third
parties’ copyright or any other intellectual property rights.

4 Tt JE SECRETS OF SEWING LINGERIE

Contents
INTRODUCTION 7
Sew to Begin 8
Knickers 32
Lingerie Sets 48
Suspenders fe
Gifting 82
Sew On & Sew Forth 96
Glossary 119
Pattern Layplans 120
Little Black Book 124
INDEX 126
ACKNOWLEDGEMENTS 128
 A)
tee To say we have a love of beautiful lingerie would be an understatement. It never
fails to amaze us how these little pieces of fabric, mostly hidden from view, canm ake us feel. During
a busy day, the brief, secret brush of silk or lace against our skin can transform our entire mood.
If you're reading thi s with a knowing nod, we can't wait to share our apprecia ion of these most
~ precious garments with you.
“As two mode nN designers, researching and developing the lingerie desi gns for this book
Opened us up to di scovering the ingenuity shown by previous generations of home sewers. We've
observed how the idea of making your own lingerie has become shrouded in mystery and a sense
of exclusivity. We want to dispel these myths and show you it is anything but, an d that by investing
just a little patience, practi ce and love, even a novice sewer can make exquisite soft-cup bras,
camisoles, knickers and suspenders. We've foraged through vintage lingerie collections and sought
he wisdom of international lace and fabric sellers, to unearth sewing techniques and tios, which
reveal the art of making your own lingerie.
Whether you're a beginner or an experienced sewer, The Secrets of Sewing Lingerie contains all
the information you need. The gan nents progress from simple designs through to more elaborate
creations, each one build ing on the knowledge and skills you'll have learned from making the
previous items. Regardless of you general home sewing experience, we recommend reading the
Sew to Begin chapter before you start as it’s packed with lingerie-specific advice and information.
Then simply use our reference section Sew On & Sew Forth to dip into whenever you come across
a technique that’s new to you.
Most of all, we hope you'll use our designs as a starting point — that, in time, as your confi dence
grows, you can adapt and rework them to become true reflections of your own style. As |i e-long
nee

collectors of falorics, lace and all things lingerie, we've come to understand h ow these dainty items
of clothing hold immense potential for expressing yourself creatively. No one wil judge the lingerie
you choose to make; no one will even see it unless you grant them a privi leged peek. The very
secrecy of it frees you to experiment and create whatever will make your heart flutt er as you pull it
from your lingerie d rawer,
Fuelled by cups of tea and Laura’s home-baked cakes, we've spent many hours together ri ling
through fabrics, cutting, pinning, laughing and stitching to bring you the garments found w ithin
these pages. It has been a labour of love and we hope using this book will bring you as much joy
as creating it brought us.

fe
INTRODUCTION 7
 pater ana shod ame we Fane
ry

ohaeeapten eee
SSS
 60,60) Qo
a ~_. Like embarking on any new adventure, it pays to be prepared. As most home
sewers have little if any experience of sewing lingerie, this chapter leads you through the basics,
revealing what sets lingerie apart from other forms of womenswear, So you can let go of any
worries and embrace creative ideas and opportunities that come to you as you progress through
making each garment.
f you're a novice sewer, this chapter will prove essential. All you need is to feel comfortable
sewing a straight stitch and a zigzag stitch before you begin. If you're a seasoned sewer, some
of the information in this chapter may be familiar to you, but there is an abundance of lingerie-
specific advice contained within it, which will save you time if you read it before you get going.
At the end of this chapter, we'll introduce you to Pretty as a Picnic, our cotton mini. It’s the
simplest garment in this book and making these knickers will build your confidence and skills
by teaching you basic sewing steps that are repeated in many of the garments. We really do
recommend making these knickers before you launch into the rest of the garments. And if a pretty
floral pattern isn’t your cup of tea, change it to something that is! New and vintage, lightweight,
woven cotton is available in an endless array of prints or plain colours, So we're sure you'll be able
to find one that you love.

(Sather
For the most part, sewing your own lingerie only requires the
same basic kit that any home sewer will already have tucked
away. However, there are a few added extras that, although
optional, can make dealing with delicate fabrics and petite
pattern pieces that little bit easier.
Basic sewing machine
If it can sew straight and zigzag stitch it’s perfect for making the
lingerie in this book.
Fabric and trimming stashes
These can be built up over time. To begin with, just gather the
materials listed for the item of lingerie you’re working on. As your
collection grows, you'll be able to dip into it for each new project.
Sewing thread
Fine polyester or all-purpose thread is perfect for sewing most
of the garments in this book. For tacking delicate fabrics such as
chiffon and for embroidering, try using silk thread.
Dressmaker’s shears
These are a must for all dressmaking, and lingerie is no exception.
Rotary cutter and cutting board
If you don’t have one already, these are oh so worth investing in.
A sharp rotary cutter blade can slice effortlessly through delicate
fabric and bias-cut pattern pieces.

10
Thread clippers or small sewing scissors
Keep these close to hand for regularly and accurately trimming
threads and ends. ue
Unpicker
Also known as a seam ripper. The safest and most accurate tool for
working the occasional length of unpicking.
Dressmaker’s pins
The thinner the better, lace or ‘bridal’ pins work particularly well
with fine fabrics.
Machine needles
Try using sharp needles (size 70) for woven fabrics and ballpoint
needles for knitted or stretch fabrics, but be aware that some
fabrics have a tendency to suffer from skipped stitches when
sewn with a ballpoint. If you’d like a safe bet, use universal
needles, which come fitted as standard with all sewing machines
and work well on all light and medium weight fabrics.
Hand sewing needles
For tacking choose long, thin, sharp needles to avoid leaving
stitch holes in the fabric. Needles used to hand finish garments
can be a little more robust to cope with sewing through multiple
layers of fabric.
Bodkin
This long, thick needle with a ballpoint end is a handy tool for
threading elastic through waistband casings. The rounded end
can also be used for pushing out corners when sewing.
Rouleau loop turner
This long, metal tool makes light work of turning rouleau. We
regularly make rouleau for the garments in this book, but a small
safety pin can act as an excellent substitute if you don’t have a
dedicated loop turner.
Thin layout paper or thick lining paper
Layout paper is a type of drawing paper available in pads.
Lining paper, bought by the roll, is used for wallpapering!
These are both excellent, inexpensive options for copying
paper patterns; see the Patterns section for more information
on how to use them.
Dressmaker’s carbon : pressing a beautiful bra as you make it is not only necessary, but
A handy addition to your kit for transferring patterns when using
a tracing wheel.
Brown paper
It might sound like an odd addition to our list, but you can
remove oil spots from fabric by laying brown paper (shiny side
up, matt side to the fabric) over the stain and ironing it out. Or try
pressing darts with brown paper underneath; it stops a shadow
of the dart showing through to the front of the garment. —
Tracing wheel
Use it to copy patterns and transfer toile adjustments to paper
pattern pieces.
French curves and a pattern master
French curves and a ruler are the basic tools you’ll need to draw
and amend paper patterns. The ultimate investment for doing
this would be a pattern master.
Dressmaker’s pattern weights
If you struggle with pinning or just holding your pattern pieces
still, using weights can help greatly. If you’d prefer not to buy
the specialist weights, look around your home for suitable
substitutes such as small tins of food.
Clickers awl
Use this handy little tool to punch holes in paper pattern pieces
for dart heads, etc. It creates an easy hole to sew tailor’s tacks
through. Alternatively try using a pencil, ballpoint pen or skewer
from the kitchen.
Air erasable pen and tailor’s chalk
Even if you prefer to cut directly around paper pattern pieces,
there’ll always come a time when these erasable marking tools
are required.
Tape measure
For measuring you, your toile adjustments, seam allowances,
lace widths, elastic lengths...the list goes on.
Small safety pins
These can be used for a multitude of purposes from fitting toiles
to turning rouleau and threading elastic into casing if you don’t
have a bodkin to hand.
Iron and ironing board
We’re not the biggest fans of ironing a pile of washing, but
surprisingly satisfying.
Embroidery hoop, needles and thread
Embroidery can be an endlessly creative and inexpensive way to
make your mark on a piece of lingerie.
SEW TO BEGIN 11
Measuring Yourselt

The most flattering and perfectly fitting lingerie will only look reliable measurement to take to ensure a well-fitting pair of
and feel so when it reflects your true size. Measuring yourself knickers across a wide range of body shapes.
might not seem like the most fun thing to do initially, but try As we mentioned, if you’d like to make a garter, you have
to see it in the way that home sewers have for generations; one more measurement to take. The strength of elastic used
there’s no judgement in relation to being the ‘perfect size’. Its in garters can vary, so to ensure the most comfortable fit,
purpose is simply to gather the information needed for you use your chosen elastic in place of a tape measure, holding
to make gorgeous garments which you'll love looking at and it as tight as you would like the final garter to be. To find
will long to find an opportunity to wear. Learning to measure your Thigh Measurement (line D), wrap the elastic around
yourself correctly will enable you to do this. your thigh 10-20cm above the knee, depending on how tall
Don’t try to commit your measurements to memory; jot you are and at what height you’d feel comfortable wearing
them down instead. There’s a space for you to do this below a garter; unlike the previous measurements, this one can be
and, as the old adage says, ‘measure twice, cut once’; it strongly influenced by personal preference.
really is worth double-checking your measurements before Done! Now look at our size chart opposite and circle the
you write them down. Once you’re confident you’ve recorded measurements closest to your own for knickers, camisoles,
them accurately, you won’t need to measure yourself again vests and suspenders. If you fall between two sizes, select
unless your body shape or size changes significantly. the larger one. We can all be tempted to squeeze into smaller
There are three main measurements you’ll need in order to sizes, but it’s a lot easier to adjust lingerie that’s too big than
select which of our pattern sizes to use. These three will see lingerie that’s too small. When you begin sewing garments
you through most of the patterns in this book, but if you’d like from the Lingerie Sets chapter, if your bust measurements
to make a garter from the Gifting chapter, there’ll be one extra and waist/hip measurements suggest different sizes for your
measurement for you to take at the end. top and bottom, choose the most appropriate size for your
Starting from the top down, we begin with your Overbust camisole and again for your knickers; a flattering, comfortable
Measurement (line A in the illustration). Stand up straight, fit is of far more importance than continuity of sizing across
feet together in front of a mirror wearing your favourite, well- your body.
fitting, non-padded bra and a pair of knickers. Ideally the bra
should be non-wired, but this isn’t a necessity. Wrap a tape
measure around the fullest part of your breasts. Make sure
that the tape is sitting comfortably (not so tight that it flattens
your breasts and not so loose that it sags down when you
breathe out). Look in the mirror to check the tape is sitting
MY MEASUREMENTS
in a level circle around your body and make a note of the
measurement.
Now we move to your Natural Waist Measurement (line
Overbust
B). This may be a few centimetres above your bellybutton,
but it varies for every woman so to check, slide your hands
down your sides until you reach the narrowest part, or bend
side to side and wrap the tape measure around the part
where you see creases form. As an extra tip, ensure this
measurement is still correct once you’re seated, this will allow
you to judge what feels most comfortable for your body.
Next is your High Hip Measurement (line C). To take this
measurement, wrap the tape around your body over the
‘knobbly bits’ at the top of your pelvis. The majority of our
knickers will sit lower than this point, but this is the most
 Size8 Size10
Natural Waist 65cm 70cm
High Hip 81cm 86cm
In our experience, there is no bra
measuring method which will be
100% reliable for everyone. As such,
we’ve moved away from selecting
your size based purely on mathmatical
calculations, favouring instead a more
observant and intuitive attitude to what
is comfortable for you. We believe that
working to the fit of your favourite bra
can be a far more accurate way to
approach making your own bras.
So choose your favourite, well-fitting,
non-padded bra (to ensure it’s truly
fitting well, go through our handy fit
checklist opposite) and make up your
toile in that size. Slip the toile on and go
through the same fit checklist again.
The bras in this book are non-padded
and non-wired, which means they are
inherently more forgiving in their fit, but
the way in which a non-wired bra sits on
your body may not be something you’re
used to. Everyone who has kindly tried
these bras on for us has been surprised
by just how flattering and comfortable
this style of bra can be when fitted well!
The points on this checklist may vary
a little from what you’re used to reading
about good bra fit. This is because
they’ve been written to work specifically
with non-padded, non-wired bras. Go
through the points in order; simple
adjustments to the straps or how the
volume of the breast sits within the cups
can dramatically improve fit.
Size12 Size14 Size 16 Size 18
75cm 80cm 85cm 90cm
91cm 96cm 101cm 106cm
Size 14 Size 16 Size 18
96cm 101cm 106cm
* Straps should be adjusted to fit snugly.
They should not dig into or slip off from
the shoulder.
¢ With non-wired bras, the side seam
should sit to the side of the natural
breast root, not on the breast itself. With
wired bras, the wire channel should sit
along the breast root, not on the breast
itself.
* The breast should be completely
contained within the cup, not showing
above the underarm or below the
underband. If it’s not completely
contained, the cup is too small.
« The breast should fill the cup. If there
are wrinkles in the fabric with empty
areas, the cup is too big.
¢ The neckline of the cup should lie flat
over the breast, not cut into it or sit
away from it. If it cuts into the breast,
the cup is too small. If it sits away from
the breast, the cup is too big.
¢ The bra should sit horizontally around
the front and back of the body, with
room to comfortably slide two fingers
beneath the underband at the Centre
Back. If it’s too tight to do this, the
underband is too small. If the bra is
riding up at the back, the underband is
too big.
SEWTO BEGIN 13
Fabric lyoes
Not all fabric is created equal — quite
the opposite. Different fabrics ‘behave’
in very different ways. As long as you
learn to recognise, understand and
care for the characteristics of a fabric,
you can use them to your advantage.
Handmade lingerie is light and delicate,
so when it comes to choosing beautiful
fabrics for garments, begin by using
your common sense. Ask yourself how
the fabric will feel next to your skin.
If the answer is itchy, rough or stiff,
then move on until you find something
that glides effortlessly when rubbed
between your fingertips. Don’t be afraid
to go into a shop or to a vintage fair
and feel the fabric before you buy it.
In terms of expenditure, the cost of
lingerie fabrics can vary greatly; the
amount you spend is dependent on
your inclination and budget. In the Little
Black Book section, we’ve included
retailers who cover a full spectrum of
cost. In addition, become a regular at
your local haberdashery, ask friends
and family if they have clothes they’d
be happy to donate for upcycling and
develop a magpie-like eye for lace and
ribbon which can be collected for future
use. Having a stash of fabrics and
trimmings to play with can help inspire
ideas for colour and trim combinations
when you begin making a new garment.
Fabrics can be broadly split into
three types: natural fibres such as silk
and cotton; synthetic fibres such as
polyester and nylon; and semi-synthetic
fibres such as viscose (sometimes
referred to as Rayon). We usually
advocate natural and semi-synthetic
fibres for lingerie, but there are some
beautiful synthetics available if you look
hard enough; just pay extra attention
to the drape, aesthetic and hand-feel if
you wish to purchase synthetic fabrics
as these are their common downfalls.
The majority of fabrics used in this
book are rigid, which means they
contain no elastane. If a rigid fabric still
feels a little stretchy, it’s usually due to
the way it’s been made. It’s important
to know whether you’re buying a rigid
or stretch fabric as it can affect the fit
of your finished garment. So if in doubt,
ask the shop or supplier whether it has
any elastane content.
All fabrics, especially those made
from natural fibres, have the potential
to shrink when you first wash them.
Therefore we recommend you always
hand wash a new fabric before using it
to make a garment.
We’d like to introduce you to the
fabrics we’ve worked with in this book,
along with a few additional ones which
have excellent lingerie potential.
Cotton
Rigid, woven cotton is easy to handle,
stable and available in a plethora
of prints and colours. Cotton lawn,
poplin and voile are three lightweight
varieties especially suitable for lingerie.
It’s a great fabric to build your sewing
confidence with.
Tulle
(can be referred to as Net or Bobbinet)
Rigid tulle is resolutely stable, semi-
transparent and doesn’t fray when
you cut it, so can be left raw at the
edges. It’s available in plain, spot
and decorative varieties and is a
great choice for lingerie as long as
you buy soft tulle rather than the stiff
tulle traditionally used for millinery or
1950s-style underskirts.
Jersey
Jersey is a soft, knitted fabric made from
either a single fibre or a blend of fibres.
It’s available in a variety of weights, the
lightest of which are suitable for lingerie
and sleepwear. Cotton jersey is used
for gussets, whereas for garments we
recommend jersey with an elastane
content to ensure the garments fit well
and retain their shape.
‘Powermesh
(can be referred to as Powernet or
Stretch Mesh)
Powermesh is a knitted, stretch fabric
used to ‘anchor’ garments to the body
while still allowing movement. It’s a
predominately functional rather than
aesthetically exciting fabric, with its
most common uses being in bra wings
and knicker back panels.
Wadding
(can be referred to as Filling or Batting)
Wadding is used to provide padding
within a garment or textile item. Like
fabric, it can be bought in lengths,
which are easily cut to the required
shape and layered to create the desired
thickness or ‘loft’. Depending on what
you're filling, give careful consideration
to the loft of the wadding; aside from
the visual look it provides, layering
wadding increases its opacity, which is
handy for eye masks!
Although wadding is often made
from synthetic fibres, it’s also readily
available in natural fibres such as
cotton or even silk. These feel and look
softer so can be a perfect pairing for
light and delicate lingerie fabrics.
Lace
This treasured fabric is supremely
intricate, feminine and available in a
vast array of designs. It is the ultimate
in decadent decoration and looks
fantastic paired with all lingerie fabrics.
Sewing lace can be tricky as its surface
is in essence irregular, but tacking and
easing it gently as you sew should be
enough to coax it into behaving.
There are many types of lace, which
fall into four main categories: narrow
lace, cutout lace, lace galloon and
all-over lace. As a general rule these
types refer mainly to their varying width
and edge shapes. Some, such as
narrow lace, naturally lend themselves
to trimming garments, whereas wider
types such as lace galloon can form
entire pattern pieces. Lace edge is
a general term used to describe any
width of lace which has a single,
decorative edge.
Narrow lace usually has a straight or
small scallop edge and is used as a
trim. Cutout lace is available in a variety
of widths with one scallop edge, which
can be deep and dramatic. This is
often the type of lace seen on lingerie
that features appliqué designs. A lace
galloon has two edges, featuring a
mirrored design, running in opposite
directions to each other, allowing you
to cut a symmetrical pair of pattern
pieces. And finally, all-over lace is a full
width of fabric which can be used to
replace a solid fabric to beautiful effect.
Be mindful if the all-over lace you select
has a net ground that is very open, as
it may be difficult to sew and can fit
differently to a solid fabric.
Each of these types of lace is
available in both rigid and stretch
versions, made from a variety of
different weight yarns. It’s these
aspects that affect the lace’s character
and how it behaves when sewn. Usually
rigid laces perform best when sewn
to rigid fabrics. The same goes for
stretch lace and fabric, although we do
have exceptions to this rule in some of
our more advanced garments, which
incorporate clever pattern cutting to
overcome any issues. Matching similar
weight laces and fabrics will help to
create a more stable garment. If in
doubt as to the compatibility of a lace
and fabric in terms of either aesthetics
or performance, try tacking a small
sample together and observe how they
fall and move once joined.
Modern and vintage laces are
often referred to by a specific style,
for example, Leavers, Chantilly and
Eyelash. Don’t let this confuse you — if
you love it, use it! But like any vintage
find, check its condition carefully; look
for discolouration, tears and weak
threads before using it.
Silk
Silk is a woven fabric available in a
broad range of weights and finishes.
It lends itself naturally to lingerie as it
has an incomparably luxurious drape
and hand-feel, but it can sometimes
be the most capricious of fabrics to
sew, distorting after you’ve cut it. To
help you master sewing silk, be patient,
use additional pins and tacking where
necessary, and ensure you always cut
it accurately on the grainline (see the
Straight Grain or Bias section, opposite,
for further advice). Once you’re used to
handling its properties, it will repay you
tenfold with beautiful pieces of lingerie.
Of the silk varieties available, we’d
recommend light- to medium-weights
of satin, habotai, crepe de chine,
georgette, crepe georgette and chiffon
as being ideal for lingerie. Some of
these have a shiny lustre such as satin,
others such as georgette are maitt.
There are translucent silks like chiffon
and opaque or semi-opaque ones
such as crepe de chine. The best way
to become familiar with their subtle
differences is to feel and experiment
with the fabrics yourself.
straight Grain
Or Bias
Ensuring pattern pieces are cut on
the correct fabric grain is a vital step
when making any garment. The
lengthwise grain of a fabric runs parallel
to the selvedge (the two non-fraying
edges that run along the length’ of a
woven fabric) and is what we refer to
throughout this book as the straight
grain. The crosswise grain runs at right
angles to the straight grain. If preferred,
for example when cutting out printed
fabric, you can cut along the crosswise
grain instead of the lengthwise grain.
The bias fabric grain (often referred to
simply as the bias) sits diagonally (at
45 degrees) to the straight grain.
Before the widespread introduction
of Lycra® during the 1960s, lingerie
was predominantly made using rigid
fabrics. Most of the styles in this book
are made with rigid fabrics, firstly
because they lend themselves well
to home sewing by being easy to
source and predictable to sew. And
secondly because they offer a classic
and flattering drape to lingerie which
modern stretch fabrics often don’t.
However, because rigid fabrics
lack stretch, more ‘give’ has to be
introduced into a garment so that it’s
still comfortable to wear. Many of the
lingerie pieces in this book have had
extra width added into their paper
patterns so that they can be cut on
the straight grain. On the flat they may
appear larger than the stretch lingerie
you'll be used to seeing in shops, but
once on your body they’ll look beautiful,
as the elastic used on them pulls the
garment in to fit the true contours of
your shape (whereas modern mass-
manufactured lingerie uses elastication
in the fabric itself to stretch a smaller
garment out to fit your shape). Learn
to see rigid lingerie garments as you
would a vintage dress; it may look
bigger on the hanger than its modern (as though it’s been lengthened or
sister dress made of Lycra®, but it will shortened) compared to the paper
flow over and flatter the lines of your pattern piece. Once all the edges align,
body in a way that clingy stretch fabrics carefully lay the pattern piece you’re
simply can’t. going to pin it to on top, focusing on
It’s easier to control straight grain the edge you'll be pinning. Pin and
pattern pieces both when cutting tack them together while they’re still
out and sewing, simply because the lying flat.
fabric distorts less than when it’s cut You'll become used to spotting when
on the bias. If you’d like to build your a bias-cut pattern piece is behaving
confidence sewing lingerie, we suggest and when it’s not. Be patien t and, if in
you begin by making garments such doubt, measure the length of edges on
as the skirted thong, minis or cotton the paper pattern piece and compare
French knickers. However, the most them to those of your fabric pattern
common way to use rigid fabric in pieces. If the fabric pattern pieces are
lingerie is by cutting it on the bias, as longer or shorter, they simp! y require
doing so frees up the small amount of smoothing out and repinning.
inherent stretch in every rigid fabric. Bias-cut lingerie can often become
Bias-cut garments have a unique some of the most cherished pieces
fluidity that allows them to move in your lingerie drawer. They offer an
gracefully on the body. At first they unrivalled sense of sinuous femininity,
can seem a little tricky to cut out and so it’s well worth investing a little extra
sew, but we have a few tips to help you time and practice to becom e familiar
control any wandering pattern pieces. and confident sewing them.
Hems and necklines are particularly
prone to lengthening and distorting, so
keep an extra beady eye on them.
First ensure you cut out the pattern
pieces on a true bias by following the
steps detailed in the Laying and Cutting
Out section on page 20. If you have
time, drape each bias-cut pattern piece
over a coat hanger or the back of a
chair for a few hours after cutting; it’ll
help the fabric ‘settle’ and distort less
once you come to sew it.
Pinning bias-cut pattern pieces
together is usually best done with them
laid out on a flat surface. Begin by
laying the paper pattern piece down
first. Lay your first fabric pattern piece
on top and smooth the fabric along the
straight grain, working from the centre
of the pattern piece out to remove any
‘bubbles’ of fabric. Check to see if any
part of the shape appears distorted
SEWTO BEGIN 17
 (Sussets
A gusset is the small, curved rectangle
of fabric that lines knicker fronts. You’ll
come across two types in this book,
firstly ‘floating gussets’, which are only
sewn to the back gusset seam of a
garment not to the front. These give
a pretty finish to many styles such
as minis and thongs. Secondly we'll
introduce you to ‘petal gussets’; used
on looser fitting items of lingerie and
sleepwear, they’re a more discreet
gusset type and are always made from
woven fabric.
For hygiene and comfort reasons,
gussets should always be made out of
natural fibres. Most commonly used is
cotton jersey, with the main stretch of
the fabric going across the width of the
gusset. Occasionally gussets are made
from silk (usually when making petal
gussets). This is harder to care for, but
a great alternative when knitted cotton
is too heavy to line a delicate fabric.
We suggest either buying half a metre
of black and white knitted cotton, which
will be enough fabric to make many
gussets, or even better, recycling old
T-shirts and vest tops you no longer
wear. Check the fabric content on the
vest’s care label; ideally it should have
a high percentage of natural fibres such
as cotton. If it does, go ahead and cut
along the side seam and across the
shoulders to open the fabric out flat.
Elastics
Sewing elastic to lingerie can
sometimes seem a little intimidating,
but the Pretty as a Picnic cotton mini
tutorial on page 28 will guide you
through it. Once you’ve mastered
the basic application it doesn’t vary
significantly from garment to garment.
18
Selecting suitable elastic is important
to the success of a garment. The most
vital aspect to consider is modulus,
which refers to how much stretch an
elastic has. The higher the modulus,
the ‘harder’ it is to stretch and therefore
the more support it offers. Bra straps
require a high modulus whereas knicker
legs require a low modulus. Elastic
used for waistbands and soft-cup
bras can either use a similar modulus
to knickers legs when combined with
lightweight fabrics, or they can have
a little extra strength as in the case of
waisted briefs or suspenders.
You’ll quickly get a feel for how
suitable an elastic is for lingerie (try
stretching and releasing some of the
elastics already found in your lingerie
drawer). Until then, a simple stretch test
will give you the information you need.
Mark 10cm of your chosen elastic, hold
it between your thumb and forefinger
over a ruler and use your other hand
to stretch it as far as it will comfortably
extend. As a rough guide, 11-13cm is
suitable for straps, 13-14cm for deeper
waistbands and bras, and 15+cm for
knicker legs and narrow waistbands. If
in doubt when buying online or in store,
ask whether the elastic is suitable for
your intended use.
The second aspect to consider is
the width of the elastic. For knicker
legs and waistbands we generally
recommend elastics that are 5-8mm
wide (excluding any decorative edges),
attaching them using a single line of
zigzag stitching. For elastic wider than
this, it’s best to use two lines of narrow
zigzag stitch (see page 110) to attach it
to the garment.
When working with light fabrics such
as delicate lace or crepe de chine,
choose narrow elastics with a low
modulus to avoid the garment curling
up once you’ve sewn it. Heavier fabrics
such as satin and powermesh can
support wider, stronger elastics.
With lingerie made from rigid fabrics,
the function of elastic is to help ‘hug’
the fabrics to your body. For comfort
and durability, the fabric should never
‘max out’ once on the body, so elastic
should be sewn with sufficient tension
to ensure it’s not too loose, but neither
should it be too tight, which would
restrict the fabric.
The yarns that make elastic stretch
and recover can deteriorate over the
years, rendering it useless. So before
using any elastic, stretch out a length
about 30cm long and let it go quickly.
If it returns to its original shape and
length, it’s in good working condition, if
it has a wavy appearance and is longer
than before, discard it.
Although primarily a functional aspect
of lingerie, elastic can also bring plenty
of decorative detail to a garment.
Look out for elastic which features
varied edges such as picots and frills.
Conversely, if you want to give a clean
finish to a garment by using flat edge
elastic, but you only have decorative
elastic to hand, simply sew it on with
the decorative edge facing into the
garment; you’ll achieve your clean look
on the outside and add a little hidden
prettiness to the inside which only you’ll
know about.
 Pressing
Pressing fabric will have an impact
on how easy a garment is to sew, as
well as how it looks once finished. The
key to good pressing is to avoid sharp
movements and to be momentary,
pressing little and often throughout the
sewing process. Use the curves and
point of the ironing board to help you;
they’re particularly handy for bra cups.
An uncut piece of flat fabric can
be steam ironed to smooth out large
creases, allowing the fabric to settle
afterwards. Once you commence
sewing however, we advocate only
using a dry iron, which eliminates the
risk of moisture distorting the garment
or it being marked by spiuttering. Resist
the urge to press individual pattern
pieces once they’ve been cut out. The
heat and pressure can cause them to
distort wildly out of shape!
To protect silk and other delicate
fabrics while pressing, it’s worth
placing a clean tea towel between the
treasured fabric and the iron. If you’re
using a low temperature and need to
see the garment as you’re pressing it,
use a piece of organza, voile or tissue
paper in place of the tea towel. Many
soft meshes cannot be pressed with
direct heat at all, even at the lowest
temperature, so always use a tea towel
or one of the above options.
Be aware of the iron’s temperature
setting; too high a heat will scorch
natural fibres and melt synthetic ones.
Neither type of blemish can
be removed!
20
Laying and
Cutting Out
A little planning goes a long way when
considering how best to lay and cut
out a pattern. Have a garment’s paper
pattern pieces at the ready, checking
the Pattern Layplans box to ensure you
have the full set cut out. Since lingerie
often uses small pattern pieces, there’s
ample room for experimenting with
how to make a garment from a minimal
amount of fabric, via clever placement
of pattern pieces. Upcycling, for
example using silk handkerchiefs and
blouses, is perfectly possible for many
of the garments in this book. Just think
about economies of fabric as you play
around with laying the paper pattern
pieces out.
Detailed in each garment’s Gather
list is an approximate length of fabric
required to make that garment. The
exact length is dependent on what
size garment you make and what the
width of the fabric is. Therefore try to
do a test layplan on your chosen fabric
before buying it. If you’re purchasing
online, ask the seller for the fabric width
and test the layplan at home using any
fabric folded to the same width.
Always press fabric before you begin
laying out on it and check that you
know which are the right and wrong
sides of the fabric. The right side is
usually identifiable by a subtly more
saturated colour and smoother finish.
With lace, the right side often has more
clarity in the design and features raised
threads which are not present on the
wrong side. To safeguard the precious
right side, it’s wise to cut with this
either to the inside of a fold or facing
uppermost to protect it from catching
on any surfaces.
A few simple tips and tricks can help
you to sidestep potential mistakes.
For example, if you’re using a shiny
fabric such as satin, cut out all the
pattern pieces orientated in the same
direction on the fabric (still following
the grainlines of course!) to avoid the
colour appearing slightly different
on each pattern piece. When cutting
patterned fabric (either printed or lace),
be mindful to choose an area of the
pattern which will still look good once
cut out. To help you make this decision
with small pieces, cut a hole in a piece
of paper, roughly the same shape and
size as the pattern piece and move it
over the fabric to see which area holds
the most appeal.
When making a bias-cut garment,
ensure you cut the pattern pieces on
a true bias (which sits diagonally at
45 degrees from the straight grain).
Begin with the right side of the fabric
uppermost. Take one corner of the
selvedge and fold it down to meet the
other selvedge, forming a triangle. Pin
along the edges to secure. The folded
edge is now on the bias grain and
ready for you to carefully lay your paper
pattern piece along it (for those which
need to be cut on the fold) or with its
grainline parallel to it (for those cut out
as a whole).
Never throw away scraps of fabric
that could be used either to test your
stitching or to put towards making
another garment, perhaps as an insert
or bow. Try to cherish every last piece!
Patterns
We've kept the lines and symbols on
the printed paper pattern pieces as
simple as possible. The key opposite
explains what each one means. Other
markings will be self-explanatory,
such as the pattern piece titles e.g.
‘front’, ‘back’ or ‘floating gusset’.
The seam markings are labelled with
abbreviations for the different parts of
the garment (See our Abbreviations
section on page 23 for a full list).
You'll see Centre Front and Centre
Back marked on your paper pattern
pieces as well as CF and CB. Centre
Front and Centre Back refer to the
pattern piece as a whole, which will
sit across the centre of the front and
back of your finished garment. CF
and CB are abbreviations which relate
specifically to the imaginary line that
vertically dissects the exact centre of
the front and back of the garment.
When the instructions on a paper
pattern ask you to ‘cut one pair’, it
means the garment requires a left
and right version of the same pattern
piece. When asked to ‘cut two’, it refers
to asymmetrical pattern piece that
requires multiples but not a left and
right version. The easiest way to cut out
identical pieces is to fold the fabric in
two and cut through both layers. The
exceptions to this are when cutting out
super light fabric, as the fabric grain
can easily distort, and when cutting
out a printed fabric or lace, which
will require a ‘decorative match’ for
the pattern on each pattern piece. To
achieve this, cut out one pattern piece,
flip the paper pattern over, carefully
positioning it, and cut out a second.
Unlike other garments, bra paper
pattern pieces need to be selected in
two parts using the key on the printed
pattern sheets. First identify your cup
paper pattern pieces. Then select the
group of wing patterns that correspond
to this cup, and the dotted or dashed
line within that group for the 32, 34
or 36 underband measurement you
require.
In order to include so many garments
in this book, some of the printed paper
pattern pieces overlap each other,
so always trace a new paper pattern
for each garment, leaving the original
patterns that come with this book
intact. You can do this either by laying
the original pattern over lining paper
and using a tracing wheel, or
by using a pen and tracing the original
pattern through a thin paper such as
layout paper or, as our grandmothers
may have used, greaseproof paper!
Remember to transfer all pattern
markings as they will act as your
roadmap.
on
Grainline This solid line with arrows at
each end indicates in which direction
the fabric grain should run through each
pattern piece. Make sure the printed
grainline lines up with the fabric grain
before pinning and cutting (See the
Straight Grain or Bias section for more
information on fabric grains).
Cutting Line These are the lines you
follow when cutting out the pattern
pieces. Each size has its own dotted or
dashed line style. Make sure you follow
the same one all around your pattern
piece.
Cut on Fold This solid line with a
bracketed arrow, marked ‘CF fold’ or
‘CB fold’, indicates you should fold the
fabric in half (paying attention to the
grainline) and line up the folded edge
of your fabric with this edge. Do not cut
along this line!
Solid Dots These are used in
conjunction with solid lines to mark the
end point of a sewing fine.
Adjustment Line These indicate where
a pattern piece can be shortened or
lengthened if the fit requires it.
=.
Notches These triangles are markers to
help you accurately align the edges of
pattern pieces or parts of the garment
when sewing. Since lingerie uses
narrow seam allowances the best way
to mark notches is to cut outward-
pointing triangles on the paper pattern
and fabric. They can also be marked
with an air erasable marker, tailor’s tack
or tailor’s chalk if you wish.
——____
Sewing Line Solid lines within pattern
pieces are sewing lines. They are used
for darts and dart tucks and are marked
at each end with a solid dot anda
notch.
BP
Bust Point These letters highlight the
fact that the notch or solid dot they sit
beside marks where the bust point of
that garment should sit. They are used
as a reference point when fitting a toile.
SEWTO BEGIN 21

Seam Allowances -
Unless indicated otherwise, all seam
allowances in this book are 5mm for
standard seams ‘and 10mm for French
seams. As. you become accustomed to
sewing these small pieces of fabric, you
may feel comfortable aligning the seam
edges and turning the seam allowance
as you.sew on the:machine. Until then,
we recommend pinning_and/or tacking
_ seams first to ensure you sew evenly,
which will create smooth and flattering
lines on the finished garment. To make
it easier to remove tacking, use a thread
in a contrast colour to your fabric and
tack to the side of what will be your
sewing line rather than directly on it.
Trimming notches and seam
allowances, and tidying up ends of
elastic too soon can make everything
look prettier, but ultimately harder to
sew. If you don’t have anything to
hold onto, neither does your sewing
‘machine, which can result in chewed
fabric. Try to hold back on trimming
until:you know all sewing is finished in
that area, or trim as you finish the last
part of the garment.
a}
‘Stitching
In éach garment’s step-by-step »
instructions, unless indicated otherwise,
the word ‘sew’ refers to a straight stitch
(or lockstitch) on the machine.
Tacking is a temporary line of
stitching formed by sewing a long line
of running stitch with a backstitch
(rather than a knot) at the start and
finish. We encourage you to use tacking
throughout your sewing as lingerie-
suitable fabrics can be tricky to control
freely, even for an experienced sewer.
It allows you to steady and hold fabric
without risking:pins coming-too close to
the machine needle. Using silk thread
to tack will allow you to remove it with
ease and it is less likely to snag or mark
the fabric than other threads.
Tailor’s tacks (See page 98) are
another excellent tool. Generally used
as markers for dart heads, tucks,
etc., we'also recommend using them
. to mark seam and strap notches at
various stages of a garment’s make
up. Tailor’s tacks are usually stitched
into the fabric at the cutting out stage.
Since you need to rely on them staying
in place, it’s best to use a cotton or.
all-purpose thread which will grip the
fabric well and, unlike more slippery
threads, avoid you having to search the
surface of a pattern piece for signs of a”
stitch hole.

It’s important to get to know your
; sewing machine well: Having the guide
~ for your‘own machine at hand is an
~~ excellent first stop for troubleshooting :
things such as machine tension. We all
get into bad habits, but sticking to a
_. few basics such as putting the needle
down into the fabric when’starting to
sew a stitch line or turning a corner,
_ and holding your threads to begin
sewing, will: make life much easier when
working’ with: delicate lingerie-fabrics,
-_as will choosing the most appropriate. | and finish the loose threads by hand,
_
machine needles and thread for the
- . type of fabric, Stick to fine polyester. or
_. ‘all-purpose thread and, as a general.
rule for needles, choose small:sharp.
“needles for rigid. wovens such as
cotton; silk and tulle, and ballpoint
‘ , needles for knitted or stretch fabrics
~ such as jersey and powermesh.
. Always trial the stitching before’
~ starting to sew something new; use
_» fabric scraps of the same type and
number of layers as you'll be sewing in
the final garment to accurately check
Abbreviations
‘Wher sewing t two different faBrie: To begin with, Ne eeserg what a
an
ins together, try:'to sew with ‘the 7g abbreviation means can feel like more
most délicate fabric uppermost. ‘This hassle than simply reading the term
stops it being in direct contact with “in full, but after a couple of reminders
the feed teeth, reducing the chance’ you'll find they make light work of
of it catching or becoming tangled ia "reading instructions. We use the
threads. Similarly, backstitching on following: abbreviations iin the BRED by-
the machine can sometimes suck fine Cir Pep: structions inthis poole
fabrics under the feed teeth because
the machine doesn’t have enough” ee © ees Centre Front:
fabric to grip onto. To avoid this, start
sewing just in from the fabric edge
CB - Centre Back aa
BP — Bust Point
knotting and, if necessary, hand sewing
-n/l — neckline
them back into the stitch line fora few -
stitches. o/b - overbust
At various ‘points in’ irisaot We.
u/a- underarm
advocate the use of-simple, couture
hand sewing techniques which, when u/b — underband
done well, are as robust.as a machine
stitch but ‘offer a more refined finish. _w/b —- waistband
- A\little unpicking is inevitable with ‘s/s — side seam
all home sewing. When it comes to
delicate lingerie, take your time and - s/a—seam allowance
unpick little by little, trying to, keep z/z — zigzag stitch
your. handling of the pattern piece to.a Y

whether your machine is stitching
evenly. If it’s not, adjust the tension’
until you’re satisfied, Thisis especially |
‘important when sewing stretch fabrics.
as they can take a little getting used
to; make sure the machine tension isn’t
stretching the fabric as you sew. If. you
_ need to alter your machine tension.
when moving between different fabrics
~on the Same garment, make a note of
_ the settings you’re happy with to save
| yourself time retesting the stitching... .
minimum. Don’t pull-on long cut threads
as you might with. outerwear garments
as you risk distorting the hems and
seams, not to‘mention snagging or
even tearing very fine fabrics.
We hope these tips won’t intimidate
you; witha little preparation, practice
and care, domestic sewing machines
can handle fine fabrics and dainty
pattern pieces with ease. All of the
garments in this book were sewn on
simple domestic machines!
b/s—backstitch (as sewn on the
. machine)
h&e — hook & eye (as used on bra and
suspender closures)
a/o — all over (reference to all-over lace)
r/s — right side of the fabric
w/s.— wrong side of the fabric
LHSW = left-hand side as worn
RHSW - right-hand side as worn
 Toiles
A toile, usually sewn in cheap substitute
fabric, is a test garment used to check
how well a design will fit on your body.
The aim when making one is to try and
recreate the final garment with the least
amount of work, but equally, with the
greatest degree of accuracy. When you
try a toile on, you’ll be assessing the
behaviour of the fabric so it’s important
to pay attention to grainlines and to
select a substitute fabric which offers
similar properties and weight to the
final fabric, such as substituting old
bed sheets for cotton lawn or synthetic
poly-chiffon for silk chiffon. You do not
need to sew French seams on toiles
(unless you’d like some practice!),
instead simply sew the fabrics right
side to right side with a 10mm seam
allowance. Likewise, it’s not necessary
to add any decorative trimmings or
bows. It is, however, vital that you use
the same elastic on a toile as you use
on the final garment to avoid a higher
or lower modulus altering the fit of the
garment.
It can be so tempting to skip making
toiles. Please don’t! You may get away
with it once or twice, but there will
come atime when a pattern needs a
small amount of adjustment for it to fit
perfectly. If you’ve used up a gorgeous
fabric making a garment that doesn’t
fit well, it’s likely to leave you frustrated
at the time and materials wasted. We
want sewing every item of lingerie in
this book to leave you feeling happy
and proud of the work you invested in
creating it. So when you begin a new
project (and again if your body shape
or size change significantly) do take
the time to sew a toile before cutting
into that heavenly Leavers lace you
discovered in a vintage shop.
24
Fitting and
Aqjustments
Fitting and adjustments should always
be made to toiles rather than to final
garments. In addition to checking
whether you’ve selected the most
appropriate size, toiles also offer the
opportunity to do some basic fitting
and to visually assess how the garment
will look.
Once wearing the toile, stand
naturally in front of a mirror and
observe how the garment looks on you.
Check whether there have been any
hiccups in the construction or sewing
workmanship and begin asking yourself
questions such as ‘Does the width and
placement of lace look flattering? Are
darts sitting in the right place? Am |
happy with the length of looser fitting
garments?’ Check all key aspects of
the design and make a note of anything
you'd like to amend. Now begin to
move around, testing how the toile
feels. Walk, bend, sit and ask yourself
whether there are any parts of the
garment which don’t feel comfortable,
again making a note of these.
There are some basic amendments
even a beginner can make to improve
the fit of a garment. For example,
straps can sometimes be a point
of irritation with some shop-bought
lingerie, So when making bra or
camisole toiles, follow the step-by-step
instructions until you reach the point
of attaching the straps. At this stage,
pin the straps to the marked points on
the front and back of the toile and try it
on. If the straps feel as though they’re
either slipping off your shoulders or
are too close to your neck, adjust the
back strap by moving it towards or
away from the Centre Back until it sits
comfortably on you. Mark this new
position on your paper pattern piece
and sew the straps into place. The
position and angle of the front strap
governs the fit, so it’s best to only
adjust the placement of the back strap,
leaving the front strap as we’ve advised
it should be.
Since lingerie fits so much
closer to the body than outerwear
generally does, there is little room for
adjustments to ‘let out’ a garment,
but there is some for ‘taking in’ if you
wish to try your hand at a little lingerie
tailoring. Use small safety pins to pinch
out excess fabric on your toile while
wearing it. Then, once the toile is on the
flat, measure how much fabric is to be
removed and transfer the changes to
your paper pattern piece. Remember,
if you are making changes which
affect both the left and right side of a
pattern piece which is cut on the fold
(and the front and back of a garment,
if you’re adjusting a side seam), halve
the amount of fabric you’re removing to
avoid taking out twice as much as you
need!
Camisole darts should fit smoothly
to the side of the breast. If they don’t,
they can easily be amended at the
toile stage. While wearing the toile,
mark the fabric where you think the
dart should finish. To let out, sew a
new row of stitches 2-3mm inside the
existing stitch line, unpick the original
stitching, and try the toile on again. To
take in, use the same method, but sew
outside the existing stitch line. Sew the
new rows in a longer stitch length at
first (to facilitate unpicking) and repeat
as necessary, moving the dart little
by little until you’re satisfied with the
fit. Remember to mark the dart’s new
position on your paper pattern piece.
The easiest way to do this is by using
a tracing wheel. The same method can
be applied to the darts on our soft-cup
tulle bra.
To alter the length of a camisole,
decide how much you'd like to shorten
or lengthen it by while wearing the
toile, then use the adjustment line on
the paper pattern piece to make the
changes. To shorten, fold the required
amount out from the adjustment line. To
lengthen, cut along the adjustment line
and tape in an extra strip of paper that
measures the required width. Check
the side seams of the paper pattern
piece are still the same length and have
a smooth line; fill in or shave off any
odd shapes caused by the adjustment.
Repeat for both the front and back
panels.
You can also check whether you’ve
chosen an appropriate width and
position of lace trim at the toile stage.
We’ve designed many of these lingerie
patterns to accommodate different
widths of lace so you can experiment
according to what trimmings you find
and like. If you’ve fallen in love with a
lace galloon that’s twice the width of
the one we’ve used, you should check
whether it still looks great once on the
garment and whether its extra width
affects the fit. Do this by tacking it into
place on your toile (one leg will suffice
if you’re making a pair of knickers). If it
looks fabulous and the garment still fits
well, go ahead and use it on your final
piece.
If you have an expensive or treasured
length of lace that you’re nervous
to cut until assured of its suitability,
photocopy it, cut out the paper design
and pin it onto your toile to get a sense
of how it looks and whether it’s suitable
for the final garment. The stiffness of
the paper may affect how the toile fits
you so do this after you’ve assessed
the fit.

SEWTO BEGIN 25
Colour
Colour in lingerie remains a distinctly
personal choice. Since the garments
sit so close to your body, choosing a
hue to compliment your skin tone from
the vast range available can sometimes
feel a little overwhelming. Some lingerie
colours offer timeless appeal and tend
to compliment a wide range of skin
tones. Many of them are presented to
you in this book: peachy tones, inky
blues and berries, dusky lilacs and the
classic black and white.
If you’d like to venture further out but
are unsure where to begin, try looking
to Mother Nature for floral combinations
that take your breath away. She’s
often the source of our inspiration. Or
start a colour book or pin board. Most
haberdasheries will cut small swatches
of fabric for you to take away. Sit two
or three of these colours side by side
and compare how different colours
affect each other visually. If they don’t
look good together, keep trying other
combinations until you discover ones
you love.
You can often be braver with colour
in lingerie than you might be with
outerwear, firstly because it can be for
your eyes only and secondly because
such small pieces of fabric can make a
bold colour appear far more subtle than
it would on a vast expanse of fabric.
Veer towards whatever colours make
you happy; if that’s a drawer full of
scarlet delight then begin to build your
stash of scarlet lace and ribbons.
Restyling a Design
We had so many ideas for this book
we simply couldn't fit them all in. In
the Sew Creative boxes we share
some additional ideas specific to that
garment in the hope that they may
inspire you to rework the designs in
ways that reflect your personal style.
There are also some general styling
suggestions which can apply to most if
not all of the garments in this book.
When restyling a garment, the
aim is to change aspects which
affect its aesthetic but not its fit. The
simplest way to transform the look
of a garment is through colour (see
left). The combinations open to you
are only limited by your imagination
and preference. Try working tonally
by mixing different levels of the same
colour in one garment, for example
trimming duck-egg blue chiffon with
navy lace. Or if you’d like to experiment
with bolder colours but are hesitant
about whether they’ll suit you, try
including them as ‘pops’ of colour.
Contrast colours used in straps, bows
and sewing threads can be an exciting
way to inject highlights of fun into an
otherwise demure garment.
Don’t forget print! Ditzy florals are
almost guaranteed to look good on
lingerie, but why not use large-scale
prints too? These often work best on
garments with more coverage so the
print can be seen clearly, but there are
no set aesthetic rules for this book;
if you’re drawn to using a large-scale
floral print on a bra cup, do it! Our only
tip would be to consider carefully where
you place the paper pattern piece on
the fabric to ensure once you’ve cut out
the pattern piece you still see the part
of the print that appeals to you. You
can also introduce small areas of print
against a larger area of solid colour, for
example by using a printed fabric on a
bagged out bow or a printed front panel
for knickers with a plain back panel.
You can go to town adding little
gems and curiosities found in vintage
shops and haberdasheries. Collect
things that spark your artistic ambition,
that demand you stop in awe at the
sight of them. If you feel you have to
buy a length of ribbon or lace ‘simply
because’, at some point you’ll find
the perfect place for it on a garment.
Approach this with patience, many
of the garment elements you see
languishing on these pages are made
from fabrics or trims that have been in
our haberdashery boxes for years!
If you want to experiment by mixing
different types of fabric in one garment,
place rigid fabrics with rigid fabrics and
stretch with stretch. Then choose fabric
types that are sympathetic in weight
and nature, such as pairing medium-
weight lace with cotton lawn or silk
georgette with silk chiffon. Their similar
drape and handle will mean they’re less
likely to ‘fight’ against each other where
they meet at the seams.
Dyeing
Turning your kitchen into a dye-lab can
be great fun; the alchemy of bubbling
pots of colour always excites us. So if
you want a particular colour fabric or
trimming but are struggling to source
the right shade, get your rubber gloves
on and crack open a dye pot.
Many of the trimmings in this book
have been dyed on Katherine’s kitchen
hob using multi-purpose dye and a
dedicated saucepan (to avoid pink
pasta the next day!). In general, we only
recommend using dye to achieve pale
colours because home-dyes do tend
to run when you wash them. Yes, even
when you use the correct amount of
salt or fixer, a dark colour achieved by
adding a lot of dye to the saucepan will
 often run the first few times you wash
it. Fortunately, subtle tones of colour
look amazing on lingerie; just think of all
_ those blush pinks, hazy lilacs and duck-
~ egg blues you've lusted ovér. Dyeing
“a pale fabric to a dark colour also has
more. potential. for creating an uneven,
patchy end-result. However, if you have
an already dark-coloured fabric or trim
_ and would like to subtly change its hue
’ or darken it just a shade using a small_
_ amount of dye, go ahead.
a _~ Natural fibres generally take dye
_ better than synthetic ones, which often
- achieve a paler colour when using the
-same amount of dye. If you’d like to am leave it wet and cut a little piece off.
dye a mix offabrics and trimmings to.
the same colour, we suggest beginning — pale? Add more dye to the water. Too
with the main fabric and aiming to dye
the elastics or trimmings to match it.
~ Likewise, bear this in mind if you try to
; dye an elastic or component which is
-made from a mix of yarns; the colouring
-_may not look even as the different yarns
absorb dye at different rates. For this —
_ reason we don’t recommend trying to
~ dye pre-bought hook& eyes; if you’d
"like one in a particular colour, why not
~ try making your own instead (see page
104)?
The subject of colour mixing and
dyeing is vast, but the information here
should be enough to get you started.
Experiment with dyeing to see what
happens with different colour and fabric
combinations and what appeals to you.
A few basic rules to remember...
« You can dye a light colour darker, but
not a dark colour lighter.
« If you have a stain on the fabric, it’s
likely to still show after dyeing.
* Basic colour mixing rules apply, for
example if you use a blue dye on
a yellow fabric, it will only ever dye it
green.
* If you dye a cream-coloured fabric,
your finished colour will always have
a warm undertone.
* If you dye a bright white fabric, your
finished colour will always have a
clean, bright undertone.
Fill a medium-sized saucepan with
enough cold water to easily cover the _ _ This will ensure your beautiful creations.
fabric or trimmings you intend to dye.
s “Add a tiny amount of multi-purpose
fabric dye, following the manufacturer’s
instructions on heating the water and
2 adding fixer. Wash the fabric or trim,
my Fpatches. Although there aresome
to test how strong the colour is. Too
dark? Add more water to the saucepan,. to be with you for a long time, we
_ Re-test with a fresh cutting and, when
- you're happy (remember that wet fabric
looks a darker colour than dry fabric),
submerge the whole piece of fabric or
length of iace in the water and gently
~ agitate for the desired time. Remove
and wash under cold running water
until it runs clear, then leave it to dry.
As long.as you’re using the same
type of dye you don’t need to buy
many pots; you can mix the colours to
your heart’s content. Try starting with
a few pinks, peaches, pale browns
(great for achieving nude tones when
used sparingly) and blues. Katherine
is still using dye pots she bought ten
years ago; they’ll last a very long time if
you’re only dyeing pale colours!
Hand Wasning
Once you’ve committed yourself to
using Grandma’s 1920s lace trim to
edge a pair of French knickers, you’ll
want them to last as long as possible.
Tempting though it is in our busy lives,
don’t pop your handmade lingerie in
the washing machine. Give them their
_ due respect and hand wash using cold
water and a little non-biological or
hand wash detergent. Follow a quick
soak with some gentle agitation and
dry naturally (tumble dryers are the
arch-enemy of delicate underpinnings!).
remain beautiful for far longer than any
washing machine will allow. _ ce
_ Vintage fabric and lace can ce
sometimes suffer from discolouration
either throughout the piece or in
“home-grown techniques for removing
these stains, if you’d like the lace _
_ recommend you avoid using bleach,
Jemon juice or salt and instead
purchase some Orvus WA Paste
* (cheaply available as ‘quilter's soap’) —
which gently removes most, if not all,
stains from vintage textiles.
Add the paste to tepid water following
the manufacturer’s instructions. Line
the washing bowl (or bath) with an old
towel and lay your fabric on top of it,
leaving it to soak (without agitation) for
up to an hour. Delicate textiles are at
their most fragile when wet and heavy
so use the lining towel to lift them
from the water and carefully transfer
to a clean, dry towel. Press another
towel on top to remove excess water
and leave it to air dry. If you have a
particularly dirty piece of fabric or lace,
repeat the process with fresh water
and paste. Et voila! Beautiful vintage
textiles, ready to sew.
SEW TO BEGIN 27
 sams, “PRETTY AS ALPICNIG ee
ares gS COTTON MINI Ys iy

GATHER By following the instructions to make this sweet little mini, you'll
learn many of the simple steps required to make the rest of the
Cotton lawn (0.5-1m)
garments in this book. Sewing our Pretty as a Picnic knickers
8mm leg and waistband
will, with a little practice, seem like a walk in the park and
elastic (1.5-2.5m)
encourage your lingerie sewing skills to blossom.
Cotton jersey for the
floating gusset
Ribbon for the bow MAKE
This style sits on the hips with slight fullness to the front and back panels.

LAYING AND CUTTING OUT PATTERN PIECES

1 Iron the cotton lawn and cotton jersey fabric.

2. Fold the cotton lawn in half along the crosswise grain. Lay the front and
back paper pattern pieces on the foid, pin in place and cut out.

3 Fold the cotton jersey with the main stretch perpendicular to the fold.
Lay the floating gusset paper pattern piece along the fold, pin in place
and cut out.

4 Remove the pins and paper pattern

pieces. Open the pattern pieces out flat.

SEWING A FLOATING GUSSET

5 Turn the s/a along the top edge of the

floating gusset pattern piece to the w/s
of the fabric, pin and topstitch in place.

6 Align the gusset seam of all three

pattern pieces by laying the front and
back panel r/s to r/s. Then place the
floating gusset w/s uppermost onto the
back panel. Pin, tack and sew along the
gusset seam.
 7 Turn the floating gusset so that it sits w/s to w/s with the front panel. It
should sit centrally with a gap down each side. Pin and tack in place
along the leg lines. Press the gusset seam flat.

SEWING A FRENCH SEAM

The s/s has a 10mm
8 Lay the front and back panels w/s to w/s and align the s/s. Pin, tack and . “© s/a to allow you to
sew a 5mm s/a. Trim the s/a to 3mm. sew a French seam
9 Turn the front and back panels r/s to r/s, which encloses the
press the s/s flat and sew another 5mm raw edges of fabric
s/a to complete the French seam. within it.

ATTACHING ELASTIC

To accurately
calculate the lengths
of elastic required,
always measure the
garment itself not
the paper pattern
pieces. Then, because
elastic varies in
modulus, once you’ve
determined the length
of the waistband
elastic, slide it onto
|| To determine how long the w/b and leg elastic should be, measure............ Your body to see if
around the waistline of your pattern pieces and cut the elastic 20% it feels comfortable.
This won't be the shorter than this measurement. Add 3cm back into the length of the elastic /fyou need to make
finished overlap, but before you cut it (this extra will make it easier to join the ends of the elastic |@"y adjustments,
it gives you and your together). Repeat for the leg openings. this change can
machine something 5 et then be applied as a
_.12 Make one length of leg elastic into a loop. Overlap the elastic by percentage to the leg
to grip onto while you 15mm at each end. elastic too.
sew the ends together.
It will be trimmed in |4 Sew one, back and forth row of stitches through the centre of the
the next step. overlap. Trim each end by 10mm to leave 5mm each side of the join.

30

Sometimes, after
sewing the elastic to a
garment, the tacking
stitch can visually
distort the edges,
causing It to look as..........
though the garment is
not very elasticated.
This is particularly true
of garments which
contain a mix of fabric
types. Don’t panic;
once you remove the
tacking, the elastic will
be released.
14 Divide one leg elastic loop into four equal sections, marking it with Use the pins as
four pins, one of which should sit on the elastic join. Align this pin with the markers to ensure
gusset seam of the leg opening and pin together. Divide the rest of the leg you achieve an even
opening into four equal sections and align each with one of the pins. amount of tension
along the elastic. If
you'd like to make
things even easier,
divide the elastic and
leg opening into eight
sections rather than
four, to give you twice
as many markers to
work with.
15 Sew the elastic to the leg opening using a 2/z stitch
just a little narrower than the width of the elastic. Start
sewing just after the elastic join at the gusset seam (So
that you finish sewing on the join). Stretch the elastic
out to sit flat against the fabric as you go. Do not try to
stretch the fabric itself.
16 Repeat steps 14 and 15 with the other leg opening
and then with the w/b, aligning the elastic overlap with the
LHSW s/s.
17 Remove the tacking from around the w/b and leg
openings.
ATTACHING A BOW
16 Attach a bow to the front
panel CF by hand sewing small
bar tacks (see page 98) through °%% 4
the bow loops right beside the °°
knot. This is better than stitching
through the knot itself which can
turn the bow loops into ‘bunny
ears’!
SEW TO BEGIN 31
iat mane
 ‘PANELLED THONG

GATHER These are the perfect knickers for piecing together treasured
cuts of fabric. Every pair you make will have your precious
Various rigid laces for memories sewn into them, so choose fabrics that make you
thong front smile. Upcycling has never felt so much fun.
(combined 0.5m)
Rigid tulle for thong
back (0.5m) MAKE
Cotton jersey for the This style sits on the hips with a thong back and pannelled front.
floating gusset Before you pin and
| Once you’ve selected the fabrics you wish to combine in the garment,
10mm narrow lace trim lay and cut out the pattern pieces as necessary (for placement on lace, tack the pattern
(2.5-3.5m) see page 99). pieces, ensure the
8mm leg and diagonal seams are
2 Lay the LHSW bottom edge of the upper front pattern piece and the top aligned by driving a
waistband elastic of the LHSW side front pattern piece together. Pin, tack and sew a French pin vertically through
(1.5-2.5m) seam (see page 30). Press, pin and tack the seam downwards. This is the the seam. Lift the edge
Ribbon for the rosebud LHSW front. of the pattern pieces
3 Lay the RHSW top edge of the lower front pattern piece and the bottom to check it comes out
the other side in line.
of the RHSW side front pattern piece together. Pin, tack and sew a French
If not, you can now
seam. Press, pin and tack the seam downwards. This is the RHSW front.
see how it needs to be
SEW
4 Lay the LHSW front onto the RHSW front making sure the diagonal ..e corrected.
CREATIVE
seams are aligned. Pin, tack and sew a French seam. Press, pin and tack
Because this thong the seam to lay downwards towards the RHSW.
has such small pattern
pieces, it’s the perfect 5 Lay the narrow lace along these diagonal front seams, overlapping....... ./f you’re sewing
garment for using up all at the CF and cut to length. Pin and tack in place with the centre of the particularly fragile
those fabrics of which narrow lace just below the seam line to cover the French seams showing fabrics you may
you have tiny, treasured through the garment. Sew the narrow lace onto the front pattern piece, want to topstitch the
amounts. Try mixing which in turn will secure the seams to the w/s of the garment. diagonal seams first
coloured lace with or secure them by
patterned and printed © Pin and sew the floating gusset in place (see page 28). With the w/s
sewing whipstitch
fabric; you'll find you of the front and back panels together, pin and sew a French seam at
(see page 98) to the
have so many thongs in each s/s.
w/s of the garment.
so little time!
7 Turn the w/b and leg s/a, lay the w/s of the narrow lace to the r/s of the Then, similarly, attach
garment around the edge of the w/b and legs. Pin and tack in place. Finish the narrow lace with
the narrow lace ends with a folded join (See page 113). whipstitch.

5 Cut the w/b and leg elastic to length and attach. Remove the tacking.

9 To finish, attach a rosebud to the CF w/b.

34
 All Tied U
Handmade Bows and Buds
Bows are the finishing touch to any item of lingerie; they can be as subtle or as statement as you wish.
Simple to make and offering endless variety, they’re the perfect place to let your creativity roam free.
How you finish the tail ends of your bows depends on what they’re made of and the finished look you
desire. You can double roll them and secure with overhand stitch (see page 98), cut at an angle or, for
poly-ribbon, try carefully burning the ends to seal them.

Perfect Hand-Tied Bow

Cut a length of ribbon and create a loop with roughly one third of the length. Hold this loop between
your thumb and forefinger and wrap the remaining end around the loop from front to back. Pull this end
through in front of the loop to create the other bow loop, pull to tighten. A little pinch as you pull creates
more distinctive loops. Trim the length of the bow tails to finish.

Double Box Bow F_ )

Cut two lengths of ribbon or rouleau (See page 100), 34cm and 5cm in length. Mark and fold the longer
length in half and sew together 10cm from the fold. Place this join to the centre mark, folding the
remaining ends of rouleau flat and outwards. Sew through the centre. Fold the ends back towards the
centre line, overlap by 5mm and sew through the centre. Wrap the shorter length around the centre of
the bow loops to create the knot, hiding the overlapping raw ends at the back with overhand stitch. Sew
a couple of tiny stitches at the back of the bow knot to create a few well placed gathers, giving a more
‘hand-tied’ feel to the bow.

Rosebud
If your garment needs a delicate finish, the simplicity of a rosebud can often be the ideal choice. The
width and fabric of the ribbon or lace you use will influence the final look of the rosebud. Finer ribbons
and lace are often better as they’re easier to twist and fold.
Begin by rolling one end of the riboon length to form what will be the centre of the rosebud and insert
a needle with knotted thread through the underside. Twist and fold the ribbon down around this centre,
creating the petals as you go. Sew an occasional stitch on the underside of the rosebud to hold the
petals in place. The diameter of the rosebud will grow with each layer of petals. Once you’re happy with
its size, place the ribbon to the underside centre, trim the end and sew overhand stitch to secure.

36
 SUMMER SNOOZES
% a)
| COTTON FRENCH KNICKERS ‘
e)

74

GATHER ‘ 7” Warm summer days and soft, white cotton are natural bed
fellows. We've added a whitework monogram to the pocket
White cotton lawn of these simple cotton French knickers, which are perfect for
(0.5-1m) wearing beneath a flowing summer skirt or, in a looser fit, ideal
10-12mm narrow lace for taking a Summer snooze in.
trim (8—4m) =
8-10mm flat edge
waistband elastic (1m) MAKE
Air erasable pen This softly fitted style sits between the natural waist and hips with a low
Embroidery hoop leg line. It has an enclosed elastic waistband, side seam vents and layered
Embroidery needle lace trim around the hem.

White embroidery floss 1 Lay and cut out the pattern pieces, cutting the petal gusset from the
same fabric as the front and back panels.

2 Lay the two front pattern pieces w/s to w/s, aligning the CF seams. Pin
along this edge, tack and sew a French seam (see page 30). Repeat with
the CB seam of the two back pattern pieces.

4 Open the front and back panels flat. Working from the inside of the.................. . Pressing the CF and
garment, press the CF and CB French seams towards the right s/s of each CB French seams in
panel. Align the gusset seams w/s to w/s. Pin, tack and sewaFrenchseam. _ this way causes them
to sit in opposite
4 Lay the narrow lace r/s to r/s onto the garment around the leg, aligning
directions where they
the bottom edge of the lace 2-3mm above the bottom edge of the leg. meet at the gusset
Taper the angle of the lace so that its top edge aligns with the bottom Sosa aaniaaiiie
edge of the leg 10mm before each s/s. Pin, tack and sew in place. Repeat Pato ie thicinGse
with the other leg. Of ARG cean

5 Turn the leg fabric s/a under (this will turn the decorative top edge of the
narrow lace r/s out). Topstitch along the fabric edge to hold the lace and
fabric s/a in place.

6 Lay asecond row of narrow lace around the legs, w/s to the fabric’s r/s,
with the top edge of the lace just overlapping the fabric hem sewn in step
5. There is no need to taper this row. Pin, tack and topstitch in place.

7 Sew each s/s with a side vent (see page 112).

8 Make and attach the petal gusset (See page 111).

9 Sew an enclosed elastic w/b (see page 110).

KNICKERS 39
 10. Lay the pocket pattern piece onto the fabric and position the 00... ...If you’d prefer not to
embroidery hoop (see page 116) with it in the centre. Cut a large enough embroider the pocket,
square of fabric to fit around the hoop. Trace the outline of the pocket simply leave this step
and your chosen monogram onto the fabric using an air erasable pen. out.
Embroider a satin stitch (see page 118) monogram outlined with split stitch
(see page 118) and, if you like, decorate around it with French knots (see
page 117) and a flower.

1 1 Remove the hoop and cut out the pocket pattern piece. Lay the ............. _..s 10 make sure you’re
narrow lace r/s to r/s along the top edge, aligning the bottom edge of the happy with the pocket
lace 2-3mm below the top edge of the pocket. Pin, tack and sew in place. placement, try the
Turn the s/a under (which will turn the top edge of the lace r/s out) and garment on before
topstitch in place. Turn the s/a running along the two remaining sides of you topstitch the
the pocket pattern piece, pin and tack. Position on one side of the back pocket pattern piece
panel, pin, tack and topstitch in place. in place.

12 To finish, remove the tacking.

SEW CREATIVE

If you love the look of whitework, but would prefer not to do the embroidery
yourself, why not upcycle embroidery placements by appliquéing (see page
118) them to the pocket or just above the top of the vents. Alternatively, try
adding highlights by using a coloured lace to trim the leg.

40
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 EMBROIDERED
TULLE MINI
St
GATHER Combining simple garment design with a unique fabric can
create a truly covetable piece of lingerie. You can easily
Soft, rigid tulle (0.5-1m) transform a plain fabric into something very special: we
6mm leg and
embellisned our Embroidered Tulle Mini with dainty polka dots
waistband elastic to do just that.
(1.5-2.5m)
Cotton jersey for the
floating gusset MAKE
Air erasable pen This style sits on the hips with slight fullness to the front and back panels
Embroidery hoop and a frilled edge around the waistband and legs.
Embroidery needle l Trace the outline of the front and back paper pattern pieces onto
Embroidery floss in four the tulle using a long tacking stitch. Cut six 15mm-wide strips of tulle,
colours approximately one and half times the length of your front waist, back
Ribbon for the bow
waist, front leg and back leg as they measure on the paper pattern pieces.
Cut out the floating gusset from cotton jersey. Try not to embroider
2 To create a uniform polka dot, use the air erasable pen to draw a closer than 10mm
straight line down the centre of the front pattern piece and parallel ones to to the edge of the
pattern pieces; this
either side. Make a small mark 20mm down the central line and at regular
will make sewing
intervals below this on each of the parallel lines.
easier when you come
4, Place the embroidery hoop (see page 116) with the drawn lines in the .to apply the elastic.
middle and embroider a new dot at every mark (See page 117), alternating
the colour of floss as you work. Repeat until the front and back panels are
covered with dotty loveliness then cut them out along the tacking lines. Not all sewing
machines like
4 Tack a line of stitching 5mm in from one edge of the front waist tulle backstitching tulle!
strip. Pull the thread tight to gather the strip until it matches the front waist As an alternative way
length of the pattern piece. Lay the r/s of the frilly strip to the r/s of the to secure the gusset
front waist pattern piece, aligning the edges. Pin and sew in place. Repeat and s/s, leave 10cm-
with the strips for the back waist, front legs and back legs. long threads at the
beginning and end of
5S Open the r/s of the frilly waist strip out from the r/s of the front panel
each seam, knot and
so that both s/a sit onto the main body of the pattern piece, tack in place.
hand sew them back
Repeat for all strips. From now on, treat the frilly strips as part of the main
into the seam fora
front and back panels. few stitches. Trim the
6 Pin and sew the floating gusset in place (see page 28). With the r/s . excess thread.
of the front and back panels together, pin and sew the s/s using a 10mm
s/a then trim 5mm off this (tulle will not fray so there is no need to sew
French seams).
KNICKERS 43
7 Cut the w/b and leg elastic to the correct length. Sew the elastic to the
garment without turning any s/a. Instead align the top edge of the elastic
with the stitch line that joins the frilled strips to the front and back panels
so that the elastic sits over the tacked s/a.

8 To finish, remove the tacking and attach a bow to the CF w/b.

SEW CREATIVE

If you’d prefer not to embroider all over your fabric, placement embroideries
can look equally amazing, especially on nude-coloured tulle. Try embroidering
a small design, perhaps the outline of a flower, onto one side of the back panel.
When you slip the knickers on, the fabric will appear to melt away leaving just
the beauty of a hand-stitched design against your skin.

f*
GATHER
Silk satin (0.5m)
Lace galloon or edge
with a minimum width
of 10cm (1.5-2m)
Cotton jersey for the
floating gusset
8mm leg and
waistband elastic
(1.5-2.5m)
Ribbon for the bow
and rosebud
When joining different
fabric types together,
if one w/b appears
longer than the other,
unpin a little and try
repinning at intervals
of 10cm. This will help
ease the skirt around
the thong w/b. You
can then add more
pins into the gaps if
VO WNCUIIKCTLO ene creed en:
SKIRTED THONG | ry
Our skirted thong takes the bold and provocative thong shape The CF of the skirt is
and transforms it under a veil of demure lace. As you move, it a focal point, so when
cutting the fabric or
gives away only glimpses of what lies beneath — the ultimate in
lace skirt, make sure
tease and temptation. the element of the
design you want to
show off aligns with
MAKE the CF and runs along
(if using lace) or close
This style sits on the hips with a thong back and a skirt that’s joined to the
to (if using as with
waistband and has a discreet opening at the Centre Back.
printed fabric) the
| Lay and cut out the pattern pieces. Pin and sew the floating gusset (see hemline. Otherwise it
page 28) in place. will become hidden by
the w/b dart tucks.
2 With the w/s of the front and back panels together, pin and sew a
French seam (see page 30) at each s/s.
3 Turn the s/a around the legs, pin and tack in place. Cut the leg elastic to
length and attach.
4 Sew the dart tucks (See page 116) around the w/b of the skirt pattern ./f you choose to make
piece. At the CB edges, turn 5mm once and then again to enclose the raw the skirt section from
edge. Pin, tack and topstitch 3mm from the finished edge to secure. a delicate lace, it may
be easier to finish
5 Lay the finished CB edges of the skirt next to each other with the w/b the CB edge with
level and sew a tailor’s tack (see page 98) across the edges, closing the whipstitch (see
w/b. page 98).
6 Lay the skirt flat and mark the CF and CB waist with a pin. Place these
marks on top of each other and place a pin at each folded side where the
natural s/s of the skirt would fall.
7 Repeat with the thong w/b, placing a pin at the CF, CB and s/s dividing
the thong into four equal sections.
8 Lay the thong flat and place it within the circle of the skirt with the r/s
of the thong to the w/s of the skirt. Align the w/b and match the pinned
marks for CF, CB and s/s. Gradually work your way around the lace,
adding pins between these marks until the skirt waist is entirely pinned
to the thong. Tack the skirt and thong together around the w/b.
KNICKERS 45
 Py

9 Turn the s/a inwards for the w/b of the skirt and thong together, pin and
tack in place. Cut the w/b elastic to length and attach as usual.
10 Remove the tacking and press the w/b to help the fabrics settle
together. (Place a cloth between the iron and the garment and use a gentle
heat to press from the r/s of the garment).
¥
11 To finish, attach a bow to the CF w/b and a rosebud to the CB w/b.
Y o
a

comes SEW CREATIVE £20

As a gift for a bride-to-be, this thong is perfect in lace, but you can turn this
styling on its head by using plain or printed cottons instead. To trim a fabric
skirt with lace, simply use the reverse hem technique (See page 112).
reget

“Sg
Siete
bia
 )
i,
p ae
-

GATHER This super simple tulle bra and mini features one-piece CUPS
to helo build your bra-sewing confidence. 'Babycakes’ was a
Soft, rigid tulle (1-1.5m) 1920s term of endearment and we hope you'll fall for this sweet
8mm narrow lace trim little set.
(4-6m)
Cotton jersey for the
floating gusset Bra
8mm leg, waistband, MAKE
underband, underarm This style has darted cups with a frilled raw edge, trimmed in lace around
and neckline flat edge the neckline and underband. It fastens with a gated closure.
elastic (3.5-5m) 1 Lay and cut out the pattern pieces, taking care to mark the position of
10mm rigid strap for the dart heads and back strap notches with tailor’s tacks (see page 98).
shoulder straps and 2 Pin, tack and sew the darts in each cup (See page 115, paying attention
gated back closure to the special instructions for this bra). Topstitch the darted fabric to the
(2m) garment.
10mm ring and slides
3, Pin the w/s of the narrow lace to the r/s of the fabric, with the plain, . . a AS the lace trim is
(2 of each) bottom edge of the lace sitting 10mm in from the fabric edge. Start So narrow, you'll find
1 swan hook (width to along the top edge of the CB along the u/a and n/, finishing at the CF. At hand sewing the mitre
match rigid strap) the cup’s shoulder strap point, mitre the lace (see page 113). Tack and easier than doing so
topstitch in place. Repeat with the other cup. on the machine.
Ribbon for the
rosebuds 4 Lay the cups r/s uppermost, next to each other with the u/b level and
the base of the n/I touching. Sew a tailor’s tack across the edges, joining
Once you’ve sewn
them at the CF. Pin the w/s of a single length of narrow lace to the r/s of
the first length of
the u/b from CB to CB, again with the bottom edge of lace sitting 10mm in
elastic up to the cup’s
from the fabric edge. Tack and sew in place.
shoulder strap point,
5 For this bra, all lengths of elastic need to be 20% shorter than the .......... .» finish the stitching as
garment measurements. Cut the u/a elastic (which also runs along the top usual with b/s but do
of the wing) to length. Divide, mark and pin the elastic and garment edge not trim the elastic.
as required. Attach the elastic along the u/a, below and alongside the Hold onto this end of
bottom edge of the lace. Cut the n/I elastic to length. Pin it in place so that elastic when you sew
it overlaps the elastic at the cup’s shoulder strap point and finishes 10mm the second length of
before the CF point. Repeat with the other cup. overlapping elastic;
it'll prevent the first
6 Cut the u/b elastic to length. Pin and sew it in place from CB to CB, one drifting under the
overlapping the elastic at the CF. pressure of the foot.

50
 7 Make the shoulder straps (see page 101) with shoulder back strap rings
For elastic straps, . (see page 100). For the shoulder straps cut two 50cm lengths.
simply cut two 44cm
8 To attach the shoulder strap to the top of the cup, turn up 10mm of the
lengths.
strap end, r/s to r/s. Place this to the w/s of the cup, aligning the strap
central to where the n/I and u/a cup elastics meet. Pin, tack and hand sew
backstitch to attach. If the strap is particularly light or flimsy, use overhand
stitch (see page 98) to secure it around the edges. Bar tack (see page 98)
the mitred cup lace to the cup’s shoulder strap point.
9 Cut two 12cm lengths of rigid strap to sew a gated back closure (see ........... /f you wish to use
page 106). elastic strap simply
turn 15mm at step 1 of
10 To finish, remove the tacking and attach a silk ribbon rosebud to the the gated back closure
CF w/b. steps and trim to 5mm.
This will allow the bra
to fit correctly with the
extra elastic.

Mini
MAKE

This style sits on the hips with slight fullness to the front and back panels
and a frilled, raw edge, trimmed in lace around the waistband and legs.

1 Lay and cut out the pattern pieces. Pin and sew the floating gusset in
place (see page 28).

2 With the r/s of the front and back panels together, pin and sew the s/s
using a 10mm s/a, then trim 5mm off this (tulle will not fray so there is no
need to sew the usual French seams).

3 Starting at the LHSW w/b s/s, pin the w/s of the narrow lace to the r/s
of the fabric, with the bottom edge of the lace sitting 10mm in from the
fabric edge. Finish by joining the lace (see page 113). Tack and topstitch
in place. Repeat with both of the leg openings, starting and ending at the
back gusset seam.

4 Cut your w/b and leg elastic to the correct length. Pin with the top edge
of the elastic sitting alongside the bottom edge of the lace, sew in place.

5 To finish, remove the tacking and attach a silk ribbon rosebud to the CF
w/b.

SEW CREATIVE 4

This is such a simple set it’s perfect for adding extra frou frou if that takes
your fancy. To double up on frilly edges, experiment with using a ruffle elastic
instead of the narrow lace. You can sew it to the wrong side of the tulle where
elastic usually sits, or to the right side for extra impact. For something more
subtle, try using a dainty point d’esprit tulle.

52 71
 BOUDOIR BLUSHES Zs
SATIN CAMISOLE & FRENCH KNICKERS SA
GIs
GATHER Because our camisole and French knickers are made from
a beautiful silk satin, it's up to you how and where you wear
Silk satin (2-3m) them. Whether it's as sleepwear, lingerie or, in the case of the Cutting fabric that
10-12mm narrow lace has a printed pattern,
camisole, as debonaire outerwear, you'll find the classic, bias or jacquard like ours,
trim (1-2.5m) cut of these garments irresistibly flattering and comfortable. can be particularly
8-10mm flat edge tricky on the bias.
waistband elastic Use a photocopy or
Camisole photograph of the
(1m) MAKE fabric as a guide to
2 metal rings (12mm
This softly fitted, bias cut style has a darted bust, scooped neckline, shell orientate your cutting
wide)
edging and rouleau straps. and help to ensure
2 metal slides (12mm you don’t end up
wide) 1 Lay and cut out the pattern pieces. If required, adjust the length of the .. Bite . With all of the fabric’s
camisole by folding the pattern along the marked adjustment line. Take pattern in just one
care to mark the position of the dart heads and notches with tailor’s tacks area of the pattern
(see page 98). pieces.

2 Align the notches and sew the darts (see page 115, paying attention to
the special instructions for this camisole). With the darted fabric placed
downwards towards the hemline, tack at the s/s to secure. Pin, tack and
sew a French seam (see page 30) at each s/s.

3, Pin, tack and sew a reverse hem (see page

112) around the hem and along the front n/I
to attach the narrow lace. Fold and hand
finish the joins in the narrow lace as
necessary (see page 113).

4 For the remaining unfinished edges along

the u/a and the back n/I, sew a shell edge
(see page 113).

5 Cut two 4cm-wide lengths of fabric and

make into rouleau (see page 100). Make the v3
shoulder straps (see page 101) with shoulder ke
back strap rings (see page 100, paying =
attention to the special instructions for this
camisole). For the straps, cut two 50cm
lengths and use two additional lengths of
rouleau to attach each shoulder back
strap ring.

LINGERIE seTS 5S
 6 Turn up 10mm of each remaining strap end,
r/s to r/s, and attach to the front n/I. Place this
to the w/s of the garment, onto the fabric below -
the lace with the outer edge of the strap in line
with the edge of the u/a. Pin, tack and hand
sew backstitch (see page 98) to attach. Sew
overhand stitch (see page 98) around the edges
of the strap edge if necessary.

7 To finish, remove the tacking.

French Knickers
MAKE
This softly fitted, bias cut style sits on the
natural waist. It has an enclosed elastic
waistband and low leg line.

1 Lay and cut out the pattern pieces, cutting

the petal gusset from the same fabric.

2 Lay the two front pattern pieces w/s to w/s,

aligning the CF seams. Pin along this edge, tack
and sew a French seam (see page 30). Repeat |
with the CB seam of the two back pattern
pieces.

3 Open the front and back panels flat. Working

from the inside of the garment, press the CF and
CB French seams towards the right s/s of each If your fabric is light or
panel. Align the gusset seams w/s to w/s. Pin, fragile, take particular
tack and sew a French seam. care when threading
the w/b elastic past
4 Lay the s/s together w/s to w/s. Pin, tack and the CF. CB and s/s as
sew a French seam. Repeat for the remaining these can be alittle
s/s. snug. Be gentle and
5 Make and attach the petal gusset (see page pull Wes Se Sh
111). to avoid disturbing
the seam stitching or
© Sew an enclosed elastic w/b (see page 110).......snagging the fabric.
7 To finish, remove the tacking. Cut a 5cm-
wide strip of fabric for a length of rouleau (see
page 100) to make a fabric double box bow (see
page 36). Attach the bow to the CF w/b.

54 THE SECRETS OF SEWING LINGERIE

 LIARLIN’ SWEETHEART
i » ; i ; j 9 ‘@) ¥ Ate nia a trAwhW-rm

SILK & LACE BRA & BRAZILIAN

GATHER Though there’s no denying the flirtatious cut of this set, details
like a hand-sewn hook & eye give this silk bra and Brazilian an
Silk habotai (0.5m) undeniable sense of class.
Lace galloon or edge
with a minimum width
of 10cm (1.5-2m) Bra
Cotton jersey for the
MAKE
floating gusset This style has three dart tucks in each bottom cup and lace edge top cups
2 metal rings (12mm and wings. It has rouleau straps and fastens with a hook & eye closure.
wide) 1 Lay and cut out the pattern pieces, taking care to mark the finishing point
2 metal slides (12mm of the dart tucks and back strap notches with tailor’s tacks (see page 98). .......Cutting lace can be
wide) daunting. Take a look
2 Sew three dart tucks (see page 116) along the u/b of each cup.
at our hints on page
6-8mm leg and
3, Lay the lace cup pattern pieces w/s to w/s at the strap seam. Pin, tack 99.
waistband elastic
and sew. Remove the tacking and press the seam towards the u/a.
(1.5-2m)
4 Place the lace cup pattern pieces onto the silk bottom cups, along the
10mm underband
o/b seam, r/s to r/s with the silk uppermost and sew a faux French seam
elastic (0.5m)
(see page 111). To sew a seam with a corner, align, pin and sew along the
18-20mm flat edge o/b edges to the strap seam. Put your machine needle down and raise
elastic for hook & eye the presser foot. At this corner make a small cut in the silk fabric’s s/a to
(0.5m) release it. Then, with the needle still down, pivot the silk and lace pattern
12mm poly cotton bias
pieces and align the remaining o/b edges. Lower the presser foot and sew
the remainder of the seam. Press the seam towards the u/b and topstitch.
binding tape
8mm plastic boning 5 Lay the cup pattern pieces r/s to r/s along the CF seam. Pin, tack and.........../f your lace is
sew a 10mm seam, taking care to align the 0/b cup seams. Press the particularly delicate,
Boning caps (optional
seam open and sew a turn and stitched seam (see page 111). only topstitch the silk
for comfort) ; by machine, hand
3 pairs of single hook 6 Turn and press the s/a along the u/b edge of the cups to the w/s. Pin finish the lace by
and tack the r/s of the narrow lace to the w/s of the u/b so the decorative sewing whipstitch (see
& eyes
top edge of the lace sits below the garment edge. page 98) to secure the
18-20mm readymade
7 Measure the u/b edge of the cups. Cut a length of 10mm elastic 25% edges.
hook & eye (optional)
shorter than this measurement and attach.
Ribbon for the bows
and rosebuds 8 Attach the narrow lace along the bottom edge of the wings, as in step
6. Topstitch in place. Place the wing and cup s/s together, w/s to w/s. Pin,
tack and sew a French seam. Press the seam towards the CF. Placing the
boning on top of the French seam, sew a length of boning along the fabric
section of the seam (see page 114).

LINGERIE SETS 57
 9 Measure and cut two 4cm-wide strips to make into rouleau (see page . .. For elastic straps cut
100). Make the shoulder straps (see page 101) with shoulder back strap two lengths, each
rings (see page 100). For the shoulder straps, measure the depth of the 6cm shorter in length
lace top cup at the strap seam from the edge of the lace to the o/b seam. than the rigid strap
Add 49cm to this and cut two lengths of rouleau. and add the top cup
measurement as
10 To attach the straps, turn up 10mm at the strap end, r/s to r/s. Place described. ,
this to the w/s of the cup at the o/b seam, aligning the strap central to the
strap seam. Pin, tack and hand sew backstitch to attach at the o/b seam
and lace. Use overhand stitch (see page 98) to secure it around the edges
if necessary.

| 1 Using additional lengths of rouleau, attach the shoulder back strap

rings (see page 100), aligning them with the notches and adjusting the
rouleau to the depth of the wing.
If the lace galloon 12 Make and attach a handmade 20mm h&e (see page 104). To finish, . Alternatively you can
or edge is not wide attach a bow and rosebud to the CF. measure, cut and
enough, appliqué join attach a readymade
(see page 113) the hook & eye (see page
lace together to make Brazilian 705).
a wider width. Then, MAKE
after you cut out the
This style sits on the hips with less coverage across the bottom than a
pattern piece, bar tack
mini. It has lace back panels with a Centre Back seam and is trimmed in
the hand sewing lines
lace around the waistband and legs.
to stop the stitching
running back. «..... | Lay and cut out the pattern pieces.

2 Place the lace back pattern pieces together, r/s to r/s, along the CB
seam. Pin, tack and sew the seam. Press the seam open and sew these
edges to the lace back with whipstitch (see page 98).
To avoid the seam . 4 Attach the floating gusset (see page 28).
becoming too tight,
sew the whipstitch 4 Turn the s/a for leg openings, pin and tack in place. Pin and tack the
close together which r/s of the narrow lace aiong the w/s of the legs so that the decorative top
edge shows along the garment edge. Attach the 6-8mm elastic. As the leg SEW
will hold the seam
edges without too elastic finishes at the gusset seam, roll the edge of the elastic under and CREATIVE
much tension. If the sew overhand stitch (see page 98) to neatly secure it.
Silk and lace are a
lace Is very light, » Place the front and back panels r/s to r/s and sew a French seam (see lingerie match made in
simply leave the page 30) at the s/s. Repeat with the remaining s/s. Take care to ensure the heaven. If you have an
pressed seam open. lace edges are level. all-over lace that you’d
like to use instead of
© Turn the w/b s/a, laying the s/s towards the CF to conceal the ends of a galloon, simply cut
the leg elastic. Pin and tack the r/s of the narrow lace along the w/s of the pattern pieces
the w/b so that the top edge of the lace shows along the garment edge. from the all-over and
Attach the 6-8mm elastic. attach a narrow lace to
the necessary edges,
’ Remove the tacking and attach a bow and rosebud to the CF w/b. trimming away any
extra fabric.
 Fi
GATHER As'the’only stretch fabric set in this book, jersey lends itself
naturally to a comfortable night’s sleep. But with a sexy lace
Stretch jersey (0.5-1m) trim and all-but-open back to the vest, this is no ordinary
20-25mm stretch lace sleep set!
trim (8-4m)
10-12mm stretch
narrow lace trim Vest
(1.5-2m)
MAKE
5mm buttons (12) This snug fitting, stretch style has a straight neckline, open back and is
trimmed in lace.

| Lay and cut out the pattern pieces, taking care to mark the back strap
notches with tailor’s tacks (See page 98).

2 Pin and tack the w/s of the wider stretch lace onto the r/s of the front
pattern piece, overlapping the raw edge of the fabric by 5mm. Begin at
one u/a and work towards the front n/Il. At the corner of the n/I and u/a,
mitre the lace (see page 113). Sew 2/z stitch along the 5mm fabric and
lace overlap to attach. Leave 25mm of extra lace at each end, do not trim
away.

3 Pin and tack the w/s of the wider stretch lace onto the r/s of the
back pattern piece, along the back n/I, overlapping the raw edge of the
fabric by 5mm. Sew 2z/z stitch along the 5mm fabric and lace overlap to
attach. Leave 25mm of extra lace at each end, do not trim away. For the
horizontal back strap, cut a length of wider lace to the same length and set
it to one side.

4 Place the s/s together and sew an inserted lace seam (See page 114) -The point at which the
using the wider stretch lace. As the back of the garment is open, the inserted lace seam
inserted seam along the s/s stops visually at the back n/I, but the lace stops along the s/s can
along the seam continues to the top of the u/a lace. When applying the be seen at the stepped
shape towards the top
lace for the inserted seam, continue to sew the lace along the front pattern
of the s/s.
piece edge to this point, overlapping the jersey fabric by Smm. Trim the
lace level with the hem but leave 25mm at the top, above the u/a lace
edge. Repeat with the other s/s.
5 Trim the back n/I lace to lay 5mm under the s/s lace and sew whipstitch
(see page 98) along the trimmed end. Repeat with the other s/s.

6 Lay the garment out, r/s uppermost and folded along the CF and CB.

LINGERIE sets 59
Trim the u/a lace level with the outside edge of
the s/s lace.

7 Take the lace edge set aside from step 3; this

is the horizontal back strap. Keeping the u/a and
s/s lace uppermost, place the end of the back
strap level with the edge of the s/s lace attached
to the front pattern piece. Then align the top of
the back strap level ‘with the top of the u/a lace.
Pin, tack and sew whipstitch around all edges.
Repeat with the remaining s/s.

S Turn the 25mm of lace at the top of the s/s

over to the w/s of the garment, concealing the
raw edges of both the back strap and the u/a
lace ends. Sew whipstitch around all edges.
Repeat steps 7 and 8 with the remaining s/s.

9 Measure and cut two 47cm lengths of narrow

lace for the straps. Turn up 10mm, r/s to r/s, at
one end of the lace strap. Place onto the w/s of
the jersey at the front n/I, aligning the outer edge
of the strap perpendicular to the end of the n/I.
Pin, tack and hand sew backstitch (see page
98) along the n/I edge. Sew whipstitch around
all edges to secure. Repeat with the remaining
strap.

10 With the back of the garment laid flat and

uppermost, place the shoulder straps under
the horizontal back strap. Turn up 10mm, r/s to
r/s, at the end of each shoulder strap and place
onto the w/s of the jersey and central to the
notch on the back n/I. Pin, tack and hand sew
backstitch along the n/I edge. Sew whipstitch
around all edges to secure. Repeat with the
remaining strap. To be safe rather than sorry, pin
with safety pins and double check the straps
fit well and aren’t twisted before hand sewing
everything into place.

11 Measure the distance between the

horizontal back strap and back n/I along the s/s.
Then measure this distance up each shoulder
strap from the back n/I. Pin and tack the
shoulder strap to the horizontal back strap at
that point. Sew whipstitch around all edges to
secure. Repeat with the remaining strap.

LINGERIE SETS
12 Pin and tack the w/s of the narrow lace onto the r/s of the garment
around the hem, overlapping the raw edge of the fabric by 5mm. Sew
z/z stitch to attach and sew a folded join (see page 113) to finish.the lace
ends.
13 To finish, remove the tacking and sew a row of three buttons vertically
onto the lace n/I, central to each strap.

Shorts
MAKE
This snug fitting, stretch style sits higher on the hips and is trimmed
in lace.

1 Lay and cut out the pattern pieces, including the floating gusset, from
stretch jersey. Pin and sew the floating gusset in place (see page 28).

2 Place the s/s together and sew an inserted lace seam (see page 114)
using the wider stretch lace. Repeat with the remaining s/s and trim the
ends level with the jersey at the w/b and legs.

3, Pin and tack the w/s of the wider stretch lace onto the r/s of the ................ Unlike other knickers,
garment around the legs, overlapping the raw edge of the fabric by 5mm. these shorts do not
Sew 2/z stitch to attach and sew a folded join (see page 113) to finish the need any tension
lace ends. applied around the w/b
or legs. Take care not
4 Pin and tack the w/s of the narrow lace onto the r/s of the garment to let the stretch fabric
around the w/b, overlapping the raw edge of the fabric by 5mm. Sew 2z/z stretch out as you sew.
stitch to attach and sew whipstitch (see page 98) to join the lace ends.

5 To finish, remove the tacking and sew a row of three buttons vertically
onto the inserted lace seam at the w/b.

yal
GATHER
Silk chiffon (1.5-2m)
25-30mm cut out lace
(2.5-3m)
2 metal rings (12mm)
2 metal slides (12mm)
6mm metal poppers as
required
10mm ribbon (1m)
If you're sewing a
particularly light fabric,
once the straps are
made and pressed,
topstitch along the
seam edge. This will
help to stabilise the
strap both while you
make it and wear It. 6.0...
WHISPER OF KISSES __ BGS
By a
hSOES J
SaariCAMISOLE & TAP PANTS Tees
(Oyoyo
Nera ey
ey
Wearing beautiful lingerie can be an emotional experience. Our
chiffon camisole and tap pants are perfectly designed to stir
your imagination as the barely-there drape of chiffon, dainty
pintucks and appliquéd lace all move against your skin with
just the whisper of a caress.
Camisole
MAKE For light fabrics, sew
tailor’s tacks (see
This loose fitting style has CF pintucks, a straight neckline with appliquéd
page 98) at the hem
lace, rouleau straps and a CB ribbon tie closure.
and neckline to hold
1 Lay and cut out the pattern pieces. If required, adjust the length of the the pintucks in the
camisole by folding the pattern along the marked adjustment line. Take direction pressed.
care to mark the notches for the pintucks, front straps, back straps and This will help to
CB opening with tailor’s tacks (see page 98). control them when
attaching the lace in
2 Before unfolding the front pattern piece, sew the pintucks (See page ....... ..e later steps.
115), beginning with the one placed along the CF fold.
3 The finish of the CB seam is sewn in the same way as a seam with a
side vent. In this case the side vent functions at the back n/I opening.
Place the CB pattern pieces together, r/s to r/s, and sew a side vent (see Transfer strap notches
page 112) with the seam open from the n/| down to the notch. to the garment with
4 Lay the front and back pattern pieces together w/s to w/s along the s/s. tailor’s tacks so they
Pin, tack and sew a French seam (see page 30). Repeat with the remaining are not lost as you
complete the appliqué
s/s.
by cutting away the
5 Carefully appliqué the lace (see page 118) to the front and back NI. fabric.
Take care to mark the strap notches along the n/I with a tailor’s tack below
the lace line. Leave an additional 10mm of lace each side of the CB.
Double turn this lace edge, placing it to the w/s of the garment and sew
whipstitch (see page 98) along the edge to finish.
6 Cut two 3cm-wide strips of fabric and make into rouleau (see page
100). Make the shoulder straps (See page 101) with shoulder back strap
rings (see page 100, paying attention to the special instructions for this
camisole). For the shoulder straps, measure the depth of the lace at the
front strap notch from the edge of the lace to the fabric edge (it may
differ for each strap due to the pattern of the lace). Once you have the
LINGERIE SETS 63
measurements, add 47cm to them and cut each
length as required.
7 To attach the straps, turn up 10mm, r/s to r/s,
at the strap ends. Place this to the w/s of the n/|
at the fabric edge, aligning the strap central to
the strap notch. Pin, tack and hand sew them
together using backstitch (see page 98). Use
overhand stitch (see page 98) to secure the
strap around the edges if necessary.

8 Cut two 32cm lengths of ribbon for the CB

fastening. Turn under 5mm of one end of the
ribbon and place this onto the CB n/I opening
of your garment, w/s to w/s, so that the turned
ribbon edge is concealed. Sew overhand stitch
around the edges to secure. Repeat with the
other ribbon length. Make a 5mm double turn
to the remaining ribbon ends and sew overhand
stitch to secure the raw edges.

9 Sew a rolled hem (see page 112) around the

hemline.

10 To finish, remove the tacking and attach two

bows to the front n/I, in line with the straps.

Tap Pants
MAKE
This tailored style sits on the natural waist with a
rolled hem waistband and low leg line appliquéd
with lace. It fastens at the side seam with a
popper placket closure.

| Lay and cut out the pattern pieces, cutting

the petal gusset from the same fabric. Take care
to mark the s/s notch.

2 Lay the centre front and side front pattern

pieces w/s to w/s. Pin, tack and sew a French
seam (see page 30). Repeat with the opposite
side front seam. Topstitch both seams.
 3, Place the front yoke to the front pattern pieces, r/s to r/s and sew a faux
French seam (see page 111). To achieve the CF V shape, align, pin and
sew along the edge to the CF point. Put your machine needle down and
raise the presser foot. Make a small cut in fabric’s s/a to release it. Pivot
and align the remaining edges of the garment, put the presser foot down
and sew the remainder of the seam. Press the seam downwards
and topstitch.

4 Lay the back pattern pieces w/s to w/s along the CB seam. Pin, tack
and sew a French seam.

5 Place the front and back gusset seam together, w/s to w/s, and sew a
French seam.

6 Lay the RHSW s/s together, w/s to w/s. Pin, tack and sew a French
seam. For the LHSW s/s, sew a French seam from the hem to the notch
only. At the notch, secure the sewing with b/s or, if the fabric is too
delicate, ahand sewn bar tack (see page 98). When you’ve sewn the
first line of stitching for the French seam, although the sewing finishes at
the notch, trim the s/a as normal along the whole length of the s/s. Then
continue to complete the French seam.
Take care when
7 Cut and make a 50cm length of rouleau (see page 100). Working on the positioning the lace
open section of the LHSW s/s, make and sew a popper placket (see page along the gusset area
108). of the tap pants. If the
8 Trim the placket ends level with the w/b and sew a rolled hem (see page gusset seam is too
a2). narrow once the fabric
is cut away, it will be
9 Carefully appliqué the lace to the legs using an appliqué join (see page... . prone to tearing.
113) at the gusset seam.

10. To finish, make and attach the petal gusset (see page 111) and remove
the tacking.

es SEW CREATIVE

If the idea of lace appliqué is not to your taste or just a little ambitious for now,
a narrow lace trim applied using the reverse hem technique (see page 112)
could look perfectly pretty or a hand-sewn shell edge (see page 113) could be
exquisite!

66
 & WAISTED BRIEF

GATHER Less isn’t always more. With sheer mesh and lace panels
combined with detachable suspenders; concealing a little extra
Silk satin (0.5-1m) skin can sometimes be the sexiest way to go!
Rigid all-over lace
(0.5-1m)
Matching thread
Longline Bra colour to fabric
Powermesh (0.5-1m)
MAKE often looks best on
Cotton jersey for the garments; however,
floating gusset This style has two piece cups and an underband that sits low on the when adding elastic
ribcage. It has lace side panels, a stretch back panel and fastens under and using two different
8mm leg, neckline,
the left arm with hook & eye tape. colours for the silk and
underarm and top
| Lay and cut out the pattern pieces, taking care to mark the BP notches. lace, the general rule
wing elastic (0.5—1m) of thumb is to use a
18mm waistband and 2 Place the lace top cup pattern pieces onto their corresponding rigid top thread colour that
underband elastic bottom cup pattern pieces, r/s to r/s, along the o/b edges, matching the matches the colour of
BP notches. Pin, tack and sew faux French seams (See page 111). Press . the lace.
(1-1.5m)
and topstitch.
18mm shoulder and
suspender strap 3 Turn the s/a along the n/I of the lace top cups. Pin and tack. Measure
the n/I, cut a length of 8mm elastic 20% shorter than this measurement
elastic (2m)
and attach.
12mm poly cotton bias
binding tape 4 For the LHSW cup only (as the bra will fasten at this seam), turn the
s/a along the u/a of the lace top cup. Pin and tack. Measure the u/a, cut a
2 metal rings (20mm)
length of 8mm elastic 25% shorter than this length and attach.
8 metal slides (20mm)
6 suspender clips 5 Lay the cup pattern pieces r/s to r/s along the CF seam. Pin, tack and
sew a turn and stitched seam (see page 111), taking care to align the o/b -Due to the n/I angle at
(20mm)
cup seams. the CF, the very edge
6 swan hooks for of the fabric (which
detachable © Lay the side wing and centre back wing pattern pieces together, w/s
is used as a guide
to w/s, and sew a French seam (see page 30) or, if the lace is particularly
suspenders (20mm) for sewing an even
delicate, a faux French seam. Repeat with the remaining seam. Lay the width of s/a) will come
8mm plastic boning seams towards the s/s. Pin, tack and topstitch. to an end ahead of
Boning caps (optional)
7 Place the RHSW cup and side wing s/s together, w/s to w/s. Pin, tack the sewing line itself.
Single hook and eyes Therefore, before
and sew a French seam or, if the lace is particularly delicate, a faux French
(for the handmade seam. Press the seam towards the CF and topstitch along the seam edge. sewing, measure
hook & eye tape) 10mm in, parallel to
8 For the RHSW cup, trim the n/I elastic at the cup’s shoulder strap point. the edge, tack this
Readymade hook & eye
Turn the s/a along the u/a and continue along the back of the garment line and use it as your
tape (optional) (0.5m) to the LHSW wing seam. Pin and tack. Measure the entire tacked length sewing guide.
Ribbon for the rosebuds and cut a length of 8mm elastic 25% shorter than this measurement.

LINGERIE SETS 67
 To prepare the elastic, measure and mark the u/a measurement (after the
25% reduction). Divide the remaining length in half and mark. To prepare
the garment, mark the CB.
Take care not to /et ..... 9 Place the elastic to the corresponding points on the garment and attach.
the stretch fabric
10 The elastic around the u/b of the bra is attached using a double row of
stretch out as you
z/z stitch. As the garment is a mix of rigid and stretch fabrics, the front and
sew.
back require different amounts of tension. Measure the front u/b between
each cup s/s as one length and reduce this by 30%. Repeat with the back
u/b between each side wing s/s and reduce this by 25%.

11 To cut the 18mm elastic to length, measure and mark the lengths
calculated for the front and back u/b. Then mark half way along each of
these lengths. To prepare the garment, fold and mark the CB.
For rigid straps, {2 Attach the elastic using a double row z/z (see page 110), matching the
simply cut two lengths marks on the garment and the elastic to achieve the correct tension.
each &cm longer
than the elastic strap 14 On the RHSW cup, sew a length of boning along the seam.
(this includes 10mm 1
14 Make and attach handmade h&e tape (see page 105) along the edges ., Alternatively you can
to turn up at the end of the LHSW side wing and cup edges. measure, cut and
when attaching). Sew attach readymade
overhand stitch (see 15 Measure and cut two 43cm iengths of strap elastic. Make the shoulder
hook & eye tape (see
page 98) around the straps (see page 101) with shoulder back strap rings (See page 100). To page 106).
edges to secure if attach the shoulder back strap rings, align the strap lengths central to the
necessary. . side wing and centre back wing seams.

16 To attach the shoulder straps, place the r/s of the strap end to the w/s
of the cup, ensuring it sits against the elastic, not the lace. Align the strap
central to the point at the top of the cup. Pin, tack and b/s to attach.

|’ Remove the tacking and attach a rosebud to the CF o/b seam.

Ie
7
 Waisted Brief
MAKE
This snug fitting style sits on the
natural waist. It has lace side
panels, a stretch back panel and six,
detachable suspender straps.

| Lay and cut out the pattern pieces.

2 Place the rigid centre front and lace

side front pattern pieces together,
w/s to w/s, along the side front seam.
Pin, tack and sew a French seam (see
page 30) or, if the lace is particularly
delicate, a faux French seam (see
page 111). Repeat with the opposite
side front seam. Topstitch both
seams.

4 Place the side front and side back

lace pattern pieces together along
the s/s, w/s to w/s. Pin, tack and
sew a French seam or, if the lace is
particularly delicate, a faux French
seam. Repeat with the opposite s/s. Place both seams toward the CB and
topstitch.
Sewing a seam that , 4 Place the stretch centre back and lace side back pattern pieces
combines both stretch together, w/s to w/s, along the side back seam and sew a French seam
and rigid fabrics can or, if the lace is particularly delicate, a faux French seam. Repeat with the
be tricky. Use the rigid opposite s/s. Place both seams towards the s/s and topstitch.
fabric as a guide to
maintain the correct 5 Sew the floating gusset in place (See page 28).
measurement and
gently ease the stretch © Turn the s/a around the leg openings. Pin and tack. Although this .............. , lake care not to let
garment has some areas of stretch, the leg elastication method is the the stretch fabric
fabric, taking care not
to stretch or pull it. same as with all knickers. Measure around the legs and cut a length of stretch out as you
8mm elastic 20% shorter than this measurement. Attach the elastic. sew.

7 As this style sits on the natural waist, the elastication tension needs to
be increased to 25%. Measure, cut and attach the 18mm elastic using a
double row z/z (see page 110).

8 Measure and cut six 15cm lengths of suspender strap elastic. Make and If you wish to use
attach six detachable suspenders (see page 101) with plain suspender rigid strapping for the
flashes (see page 103). Position these along the hem of each leg at the side suspenders, simply cut
front seam, s/s and side back seam, aligning them centrally to the seams. . SIX 18cm lengths.
9 To finish, remove the tacking and attach a rosebud to the CF w/b.
 \ i WAALS Oa
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 TRIANGLE SU

GATHER Many vintage suspender belts were formed from triangular

shapes. This timeless classic is simple to sew and supremely
Silk satin (0.5m) flattering to wear. It lies flat beneath your clothes, allowing you
All-over lace (0.5m) to indulge in wearing stockings whenever the mood takes you.
38cm narrow lace trim
(1-1.5m)
MAKE
10-12mm waistband
elastic (1m) This style sits between the hips and the natural waist. It has straight,
10-12mm flat edge triangular panels and fastens with a gated back closure.
suspender strap and
1 Lay and cut out the pattern pieces (for placement on lace, see page 99)... »/f your lace edge has
gated back closure You'll need right and left sides for each, a symmetrical pair, so once you’ve a scallop, remember
elastic (2m) cut one out, flip the paper pattern pieces over and cut out another. to lift and lower
4 suspender clips matching pattern
2 Pin and tack the satin and a/o lace pattern pieces of the LHSW front
(width to match pieces to make sure
triangle on top of each other, both r/s up with the lace uppermost. Treat
you get even triangle
suspender strap them as one pattern piece from now on. Repeat with the remaining three
points (see page 100).
elastic) triangles.
15mm ribbon for 4 Pin, tack and sew the LHSW centre front and side front narrow lace
>?

suspender flashes pattern pieces together to create a V-shaped panel. Press the s/a open
(0.5m) and topstitch each side, trimming any s/a showing beneath the edges.
1 swan hook (width Repeat with the remaining narrow lace pattern pieces.

to match gated back 4 Place the satin and a/o lace LHSW front triangle with its corresponding
closure elastic) narrow lace V-shaped panel r/s to r/s with the fabric panel uppermost.
Ribbon for the rosebud Sew from the w/b edge to the point, then put your machine needle down
and presser foot up. Make a small cut to release the fabric panel at the
V. Turn and align the edges, put the presser foot down and sew the
remainder of the seam.

5 Trim the satin and a/o lace s/a to 3mm. Press the remaining 5mm of . When turning the
narrow lace s/a upwards towards the w/b so that it lies against the w/s of seam under the fabric
the satin, covering the trimmed s/a. Topstitch the seam. Treat this panel as panels, the small cut
one pattern piece from now on. Repeat steps 4 and 5 with the remaining made in the fabric will
three triangles. allow the seam edges
to overlap, creating a
6 Lay the LHSW front triangle pattern piece r/s to r/s with the RHSW back
perfect corner.
triangle pattern piece, aligning at the s/s edge. Pin, tack and sew a turn
and stitched seam (see page 111). Press the s/a open and topstitch each
side. Repeat with the other s/s.
7 Lay the two front triangle pattern pieces RHSW over LHSW, aligning
them so that when the w/b s/a is turned under, the satin and a/o lace
edges will touch as two points at the CF. Pin and tack in place.

S$ Cut two 12cm lengths of strap and sew a gated back closure (see page
106).
9 Cut two 26cm lengths of strap elastic for the front suspender straps
and two 31cm lengths for the back suspender straps. As the suspender
straps extend behind the garment panels to the w/b, these lengths will
appear much longer than you would think necessary.

10 Make the suspender straps (see page 101) with plain flashes (see
page 103). Pin them in place starting 5mm below the w/b and passing
through each of the four triangle points. Tack in place at the w/b. Bar tack
(see page 98) at the triangle points.

| 1 Measure the w/b of the garment and cut a length of elastic 20%
shorter than this measurement. Attach to the w/b using two rows of
narrow z/z stitch (See page 110).

12 To finish, remove the tacking and attach a rosebud to the CF w/b.

 __ PEARLS & POWDERPUFF
TRADITIONAL SUSPENDER BELT

GATHER We love adding unexpected details to traditional shapes. Our

traditional suspender belt combines familiar, graceful curves
Silk satin (0.5-1m) and vintage suspender flashes with an edging of frilly frivolity.
25mm lace trim
(2.5-4m)
10-12mm waistband
MAKE
elastic (1m) This style sits high on the hips with curved, bagged out panels trimmed in
10-12mm flat edge lace. It fastens with a covered elastic closure.
suspender strap 1 Lay and cut out the pattern pieces.
elastic (1m)
2 Pin, tack and sew the centre front panel to the side front panel, r/s to
25mm flat edge elastic
r/s, at the side front seam. Repeat, sewing the side front panel to the side
for covered back back panel at the s/s, then the side back panel to the centre back panel at
closure (0.5m) the side back seam. Repeat to join the panels on the opposite side of the
4 suspender clips centre front panel. Press all of the s/a open.
(width to match 3 Repeat step 2 with the remaining suspender pattern pieces to create an
suspender strap identical row of panels; these will form the outer and inner panels of the
elastic) suspender belt.
1 swan hook (width to 4 Place the outer and inner panels r/s to r/s. Align the seams along the
match covered back curved bottom edge, pin and tack together. Sew in place. Trim the excess
closure elastic) fabric from the points of the suspender panels. Remove the tacking.
15mm ribbon for 5 Measure and cut 5cm and 7cm lengths of 25mm elastic for the CB
suspender flashes closure. Make and cut two lengths of rouleau (See page 100), 5cm and
(0.5m) 13cm in length. Use these to make and attach a covered elastic back
closure (See page 108).
Vintage gems or ribbon
for the bow 6 Bag out the Suspender Panels AN PSS. oo. ooesomsmninnnnnnnnnnnnnnneinnnnenes ...e Use a bodkin or other
blunt tool to poke out
7 Align each of the corresponding seams on the inside and outside of the the points from inside.
two layers. Pin in place to prevent them coming out of alignment as you
continue sewing.

The wrong type of frill .......
can look unflattering.
As a general rule, the
wider the lace trim, the
less voluminous the frill
should be.
8 Working with the inside of the garment uppermost, align one end of the
lace trim with the CB of the centre back panel. Create a separate frill (see
page 116) from the lace trim, attaching it in place along the bottom edge
of the suspender.

SUSPENDERS 77
2 Tack the two top edges of the suspender panels together. Remove the
pins which were holding the inside and outside seams aligned.

1Q Measure the w/b of the garment and cut a length of elastic 20%
shorter than this measurement. Attach to the w/b using double z/z (see
page 110).

| 1 Measure and cut lengths of flat edge elastic for the suspenders; two
13cm lengths for the front and two 18cm lengths for the back. Cut and
make rouleau to cover the elastic; two 23cm lengths for the front and two
30cm lengths for the back.

| 2 Make and attach four covered elastic suspender straps (see page 102)
with faux pleat flashes (See page 103).
14 Pin and sew the suspender straps in place at the front and back
points.

14 To finish, remove the tacking and attach vintage gems or a bow to the
CF w/b.

SEW CREATIVE
Decorative topstitching is a subtle but classic detail that was often used to
wonderful effect on vintage lingerie. The soft sheen of silk satin shows it up
beautifully, so try adding a couple of lines of topstitching to either side of the
panel seams, perhaps even sloping them inwards as they reach the top of the
seam to add a sense of visual contouring. Alternatively, to create a less frilly
edge, why not replace the lace frill with a simple, scallop-edged lace that is
mitred at the suspender points?

SUSPENDERS 79
 GATHER Our roll-on suspender harks back to vintage lingerie designs in
which form followed function.
Printed and plain silk
satin (0.5-1m)
MAKE
Powermesh (0.5-1m)
12mm waistband and This snug fitting style sits on the natural waist. It has stretch side and back
hem elastic (0.5-1m) panels and ‘V’ suspender straps.
15mm rigid suspender 1 Lay and cut out the pattern pieces. Place the outer, rigid centre front Sewing a seam which
strap (1m) and side front pattern pieces together, r/s to r/s. Pin, tack and sew a has both stretch and
25mm ribbon for 10mm seam along each of the side front seams. Press each seam towards rigid fabrics can be
the s/s. Pin, tack and topstitch both seams with a z/z stitch set 2mm from tricky. Use the rigid
suspender flashes
the seam edge. This is now the rigid outer. fabric as a guide to
(0.5m)
maintain the correct
4 suspender clips 2 Place the stretch centre back and side back pattern pieces together,
measurement and
r/s to r/s. Pin, tack and sew a 10mm seam along each of the side back
(20mm wide) gently ease the stretch
seams. Lay each seam towards the s/s and topstitch both with a z/z stitch
Ribbon for the bow fabric taking care not
set 2mm from the seam edge. Trim the seam to 5mm.
to stretch or pull it out
4, The front of the garment is bagged out. Lay the stretch back panel onto ..« Of Shape.
the rigid outer front panel, r/s to r/s, placing the side front seams together.
Pin and tack. Lay the r/s of the rigid front lining onto the w/s of the stretch
back panel, placing the side front seams together again. Pin and tack.

4 Sew a 10mm seam along each of the side front seams. Remove the
tacking, bag out and press. Pin, tack and topstitch as in step 1.

5 Measure the stretch panels as one length around the w/b and reduce As the majority of this
this measurement by 25%. Then repeat with the front rigid panels and garment is made from
reduce this by 15%. Measure and mark the length of elastic calculated stretch fabric, the
for the stretch panels (and add another mark haifway along this length), elastication method
followed by the rigid measurement. Cut join the elastic length as usual. requires you to split
the measurement.
© Lay the garment flat with the side front seams matching and mark the
CB fold. Place the elastic join at the LHSW side front seam and attach
the elastic using a double row z/z (see page 110). Repeat steps 5 to 6 to .Whilst matching the
elasticate the hem. marks to achieve the
correct elastic tension,
7 Along the w/s of the hem, measure 25mm either side of the garment
take care not to let the
seam and mark with a tailor’s tack (see page 98). Make and attach the
stretch fabric edge
V suspenders (see page 103) and plain suspender flashes (See page 103).
stretch out as you
To finish, remove the tacking and attach a bow to the CF w/b.
Sew.

80
an ae a a ey eee
ee ee
 GATHER These knickers make the perfect gift, not only because the tie-
sides offer a little more allowance for fitting, but because they're
Printed cotton, silk easy to sew and can be customised in endless ways. The
satin, crepe georgette three pairs you see here are all made from the same pattern,
or other rigid fabric we've just changed the fabric, ties and embellishments. Let
(0.5-1m) your imagination wander freely among the treasured trinkets
6-8mm leg and and off-cuts you've collected, perhaps choosing ones that
waistband elastic hold significance for you or your lucky recipient.
(1.5-2.5m)
Cotton jersey for the
floating gusset Valentine’s Satin Tie-side Mini
For the ties use either (with bagged out satin ties)
extra fabric (0.5m),
MAKE
35mm lace trim (2m) This style sits on the hips with slight fullness to the front and back panels.
or ribbon (4m) It has ties at the side seams.
Narrow lace trim or lace | Lay and cut out the pattern pieces. Pin and sew the floating gusset in
placement for place (See page 28).
appliqués 2 Fold the first tie pattern piece in half along the fold line, r/s together.
Pin, tack and sew the long open length and the widest, angled edge. Trim
the excess corner fabric and bag out the pattern piece. Use a bodkin or
similar blunt tool to push the corners out from inside until they have a
pleasing point, then press the tie flat. Repeat with the three remaining ties.

4 With the length of the tie lying on top of the front pattern piece, r/s ...eWhen attaching the
together, lay the open end of the tie so that it overlaps the front pattern ties, make sure all the
piece s/s by 5mm. The tie is narrower than the s/s so position it with an shorter, angled ends
even amount of fabric each side. Pin, tack and sew in place. Repeat with are at the top, in line
the three remaining ties. with the w/b.

This is the best time to . 4 Turn and tack the waist and leg s/a, but don’t attach the elastic yet.
attach any appliqués With the r/s of the back pattern piece facing you, start laying on the
(see page 1718), decorative narrow lace. We chose to create a bow shape, but play around
whether to the front or with the lace until you discover a design you’re happy with, then tack and
back panel. sew it in place along each lace edge. We machine-stitched the bow shape,
but you can hand-sew your design if you prefer.

5 Cut the waist and leg elastic to length and attach as usual, but finish the
elastic 5mm before the edge of each s/s. With the w/s of the front pattern

84
piece s/s facing you, fold the additional 5mm of the tie s/a over to enclose
the raw edge of the s/s. Then turn this edge a further 5mm Ss/a towards the
front panel which will cover the ends of the waist and leg elastic. Pin, tack.
and topstitch in place. Repeat with the three remaining ties.

6 To finish, remove the tacking and attach a bow to the CF w/b (or leave it
plain as we chose to).
To create the pretty lace tie-sides of the Printed Peacock mini (below),
simply skip step 2 and instead turn and topstitch a 5mm seam at one end
of the lace tie to finish it neatly, before attaching it as described in step
3. Or if you’re using multiple lengths of ribbon as in our Christmas Rose
mini (opposite), either finish silk ribbon ends by making a double turn and
securing with overhand stitch (see page 98) or, for synthetic ribbon, cut the
ends at a 45-degree angle to prevent fraying.

When using lace for the ties, remember to match the lace patterns (see
page 99). It’s not strictly necessary for this design, but it is a visually
pleasing thing to do if you have enough.

SEW CREATIVE 24.

Appliqués don’t need to be placed in the centre of panels as they are in our
designs. Try adding some tiny, lace heart appliqués to one side of the back
panel for an even more themed pair of Valentine’s knickers. Or perhaps a
bluebird appliqué flying off to one side of the front panel.
 e ax:
- &
icf
GATHER
Silk (25cm)
Wadding (25cm full
width)
Narrow lace trim (1m)
10mm flat edge elastic
(1m)
Lace for bows
Position the join of the ..
narrow lace and the
opening to turn the
layers through, in the
same place; it will help
you to successfully
disguise the lace join.
Why riot slumber in style with our luxury, lace trimmed eve
mask; the perfect accessory on a long weekend break or
simply to add a little panache to your Sunday morning lie in.
MAKE
1 Lay and cut out the pattern pieces and wadding, taking care to mark......... . The amount of
the notches. wadding required will
depend on the type of
2 Lay the narrow lace around the edge of one of the pair of pattern
wadding you’re using
pieces, r/s to r/s, with the decorative top edge facing inwards. Pin and
and the loft. You may
tack, placing little tucks in the lace around the curved edges as you stitch.
need to experiment
This is now the outer piece.
using more than one
3 Cut a length of elastic to fit comfortably around the back of your head. layer to achieve the
Cut a 3cm-wide strip of fabric and make a length of rouleau (See page desired thickness.
100). To calculate the length of the rouleau, work to a ratio of 1:1.5-2,
elastic to rouleau, depending on how many gathers you want in the fabric.
4 Attach a bodkin to one end of the elastic and insert it into the rouleau.
Pull the elastic through and sew to secure it at each edge of the rouleau.
Smooth the gathers away from the ends.
5. Working on the r/s of the remaining pattern piece, lay the covered
elastic strap onto the fabric, placing each end of the elastic central to each
notch. Pin and tack in place. This is now the lining.
6 Lay the outer piece and the lining together, r/s to r/s. Pin, tack and sew
around the edges, leaving a 5cm opening along one of the straighter edges.
7 Make small cuts in the s/a around all of the curved edges. This helps to
release the fabric around the curve for a smooth shape and finish. Remove
the tacking. Bag out the pattern pieces and press.
8 Roll up and insert the wadding. Unroll it, ensuring it’s laid up to all of the
edges once inside the eye mask.
9 Fold the s/a inwards along the opening, ensuring the ends of the narrow
lace are overlapped, trimmed and concealed. Pin and slipstitch (see page
99) to finish the edge.
10 To finish, attach two lace bows, one each side of the eye mask, in line
with the strap.
cietine 89
 GATHER A handmade wedding garter created especially for a friend's
big day can be such a treasured gift (we should know, Laura
Silk satin (10cm full made one for Katherine’s wedding}). If you can, use faloric,
width strip) trimmings and trinkets which hold significance for the bride;
6.5-8cm rigid ribbon they will make your gift all the more special.
slot lace (0.5-1m)
10mm flat edge elastic
Ribbons, Roses & Romance
(0.5-1m)
MAKE
5mm ribbon (0.5-1m)
Ribbons, trims and | Measure and cut a length of elastic to fit comfortably around your thigh,
rosebuds as desired as described in our guide to measuring yourself (See page 12).

2 Measure and cut a 3cm-wide strip of silk to make a length of rouleau . Depending on how
(see page 100) to cover the elastic. Before you cut, add an additional gathered you'd like
20mm to the length for joining the rouleau. the garter to be use a
ratio of 1:1.5-2, elastic
3 Place the edges of the lace together, r/s to r/s, and sew a 10mm seam.
to rouleau.
Press the seam flat and sew whipstitch (See page 98) to secure the seam
edges to the lace.

4 Working on the w/s of the lace, pin and tack the rouleau central to the
lace width. The ends of rouleau will overlap by 20mm. Position this join
just to the side of the lace seam.

5 Beginning 15mm away from where the rouleau overlaps, topstitch along
the top and bottom, 2mm from each edge. Remove the tacking.

6 Working from the r/s of the lace and beginning at the point opposite
the lace seam, thread the ribbon through the lace, placing it flat between
the lace and the rouleau. Tie a knot where the ribbon ends meet, this will
become the front of the garter.

7 Attach a bodkin to the elastic and insert it into the rouleau. Check the
elastic is not twisted, then overlap the ends and sew back and forth over
the elastic to secure the ends together. Trim the ends and ease the elastic
into the rouleau.

3 At the rouleau join, turn one end in by 10mm creating a neat finish and
slide the other rouleau end inside it.

90
SS ree
 9 Slipstitch (see page 99) to close the join around the enclosed elastic.
Smooth the gathers aside and topstitch along the top and bottom, 2mm
from each edge to complete the stitching from step 5. Evenly distribute
the gathers around the garter.

10 To finish, attach a contrast bow with a trail of trim and rosebuds, if

desired.

GATHER Sultry Beaded Silk

MAKE
Silk satin in two colours Depending on how
(10cm full width strip) | Measure and cut a length of elastic to fit comfortably around your thigh, gathered you'd like
as described in our guide to measuring yourself (See page 12). the garter to be use a
12mm flat edge elastic
ratio of 1:1.5-2, elastic
(0.5-1m) 2 Measure and cut two 35mm-wide strips of silk. Before you cut, add an... *to rouleau.
5mm silk ribbon additional 20mm to the length for joining.
(0.5-1m) 4 Place the silk strips together, r/s to r/s. Pin, tack and sew along both of. ./f your fabric is
Ribbons, rosebuds and the long edges. Bag out this length of silk using the same method as when particularly light,
making rouleau (see page 100). Remove the tacking and press. pin the silk length
seed beads as
to prevent the seam
desired 4 Starting and finishing 10mm from each end, topstitch the silk length
twisting and remove
along the top and bottom, 5mm from each edge. the pins as you press.
5 Attach a bodkin to the elastic and insert it into the silk length. Check the
elastic is not twisted, then overlap the ends and sew back and forth over
the elastic to secure the ends together. Trim the ends and ease the elastic
inside the rouleau.
6 At the rouleau join, turn one end in by 10mm creating a neat finish and
slide the other rouleau end inside it.

7 Slipstitch (see page 99) to close the join around the enclosed elastic.
Smooth the gathers aside and topstitch along the top and bottom, 2mm
from each edge to complete the stitching from step 4. Evenly distribute the
gathers around the garter.

8 Lightly stretch the garter out and, directly opposite the seam, mark
a 13cm length along which to attach the beads. Hand sew occasional
stitches in the silk, threading beads onto the length of thread in between.

9 To finish, attach contrast bows and rosebuds, as desired.

GIFTING 93
 GATHER Let your lingerie travel in style. This sumptuous silk bag will
The amount of
protect your precious underpinnings while you voyage, or look wadding required will
Various plain or printed equally gorgeous housing something special at home. depend on the type of
silk (0.5m) wadding you're using
Wadding (0.5m full and its loft. You may
width) MAKE need to experiment
using more than one
Narrow lace trim (1.5m)
| Lay and cut out the pattern pieces and wadding. When cutting out the layer to achieve the
10mm velvet ribbon outer and the lining, ensure you mark both pairs of notches. _..desired thickness.
(8cm)
2 Place the narrow lace around the edge of the outer pattern piece, r/s to
15mm button
r/s, with the decorative top edge facing inwards. Pin and tack. . Position the join of
the narrow lace and
3, Make a 3cm-long loop of velvet ribbon, laying the ribbon ends flat
the opening to turn
together, one on top of the other, and sew a tailor’s tack (See page 98). the layers through
Place this tack in line with the centre notch at one end of the outer pattern
in the same place;
piece, placing the loop r/s to r/s onto the outer fabric. This will be at the this will help you to
bottom edge of the lingerie bag once finished. successfully disguise
4 Lay the pocket onto the lining pattern piece, aligning the folded edge the lace join.
with the lining notches that correspond to fold B. Pin and tack around the
cut edge.

5 Lay the outer and lining pieces together, r/s to r/s. Pin, tack and sew
around the edges, leaving a 10cm opening along one of the straighter edges.

© Make small cuts in the s/a around both curved edges. This helps to
release the fabric around the curve for a smooth shape and finish. Remove To add extra
the tacking. Bag out the pattern pieces and press. sophistication to
a covered button,
7 Roll up and insert the wadding. Unroll it, ensuring it’s laid up to all cut a length of tiny
edges once inside the bag. chain to the same
S Fold the s/a inwards along the opening, ensuring the ends of the narrow
q circumference of
lace are overlapped, trimmed and concealed. Pin and slipstitch (see page the button. Attach
99) to finish the edge. this to the edge with
whipstitch (see page
9 To finish, with the bag closed, place the velvet ribbon loop from the 98), passing through
bottom of the bag onto the top of the bag. Then, using the centre of the loop the links and the fabric
as a guide, mark the position of the button and sew it to the outer fabric. ..» of the button.

94
ih PUSAN: es
2 5
 Hand stitching : OVERHAND STITCH
(also referred to as oversewing)
We're all less familiar with hand-stitched clothing than previous generations : (Stitch length: 2-3mm)
were. As it’s now often viewed as a couture finish you may doubt its resilience, This stitch is perfect for joining fabrics
but don’t; sometimes hand stitching is by far the best option and will do a more : along two edges. It offers discretion
efficient job than your machine is able to. : and strength in small areas of garments
Try to get into a rhythm when stitching, as the more even the stitch length, which require a little reinforcement. For
the neater it will look. Resist the temptation to pull stitches too tight. Hand : example, we recommend using it when
stitches work sympathetically with delicate fabrics: overly tight stitches will
: attaching straps or turning and joining
fight with the fabric and cause damage.
The names of the stitches we’ve selected as being most suitable for lingerie : trims.
have sometimes changed over the years they've been in use. This, combined with : e Lay the edges of fabric or garment
the abundance of stitch types about, can be confusing especially when there are : together and insert the needle diagonally
subtle variations in technique. But rest assured that the descriptions and steps : through both, a small distance from
below are all you'll need to know to complete the projects in this book. i the edge. Take the needle to the back
: of your sewing and then through to
: the front, close beside and in line with
TAILOR’S TACK : BAR TACK
: the last stitch. The key to neatness is
(Stitch length: 5mm) : (Stitch length: 3-4mm)
: keeping the stitches even in length,
This is the perfect stitch with which : This type of tack is a discreet yet strong
: Spacing and angle. gsi
to temporarily mark your sewing as way to secure edges and seams as well
it will not damage delicate fabric. It’s : as attaching bows.
especially handy when marking notches : e Begin by securing a single stitch
or finishing points from a pattern piece: : in the exact place needed and of the
that’s cut on the fold. : required length. Repeat the stitch three
1 Thread the needle but leave the to four times in the same place, finishing
sewing threads double and without a knot. : with a knot to the back of the sewing.
2 Sew a single stitch over the mark in
your fabric, leaving a loop to the back
of the fabric.
|WHIPSTITCH
3 Sew the next stitch to overlap the
: (a subtle variation of overhand stitch)
first and finish the tack. Again leave a
i (Stitch length: 2-3mm)
loop to the back. e Follow the steps for overhand stitch,
4 As you separate the work, the : making sure the needle is inserted at
large loops of thread pull through to : right angles to the sewing edge. The
: BACKSTITCH
the fabric which is being opened out. i (Stitch iength: 2-3mm) : stitches therefore become slanted,
Snip the loops to leave tufts of thread : which makes them ideal for sewing or
: As ahand stitch, backstitch is most
at each side. Make sure you handle the joining lace as the stitch angle helps to
: similar in appearance to a machine
: disguise the thread.
marks with care, so that the threads : lockstitch. It’s also one of the strongest
don’t slip out at this point. : hand stitches because the stitches to
We’ve adapted our use of these : the w/s of the fabric overlap.
tacks, without the loops and step 4, ¢ Begin by bringing the needle up
as the ideal way to mark strap and through the fabric and stitch a single
suspender notches on delicate fabrics. : stitch. Bring the needle back up one
: stitch along and then back down into
: the end of the previous stitch.

98
SLIPSTITCH
(Stitch length: 3-5mm)
This discreet hemming stitch is similar
to blind hemming but is better suited to
lingerie. As well as hems, it can also be
used to finish openings within garments.
Stitches are hidden along the inside
edge of a fold orfolds of fabric, which
helps to avoid, over-handling.of fabric in
potentially tricky little areas of sewing.
e Begin by securing a single stitch
onto the inside of a folded edge. Pick
up a thread from the w/s of the fabric
opposite and then take the needle through
the top of the folded edge opposite.
When hemming, stitches are virtually
invisible on the r/s of the garment.
BLANKET STITCH
(Stitch length: 3-5mm)
Usually given pride of place as a
decorative stitch, small blanket stitch
can also function to secure fragile
edges on delicate fabrics. The stitch is
always worked from left to right with
the edge you are stitching facing you.
e To begin, secure the thread by
placing one stitch at the edge. Working
from the r/s of the fabric, sew a stitch
bringing the needle back to the r/s
and facing you. The thread from the
previous stitch needs to be under
the needle and below the work. As
the stitch is pulled through, the loop
flattens and the thread outlines the
edge being sewn.
- om
Ci
: KNOTTING THREAD
: Delicate fabrics can be mischievous
and a thread’s knot sometimes refuses
: to hold in the fabric at the start or the
: finish of a sewing line. Sew a single
: stitch by picking up a single thread of
: fabric with the needle and, as you sew
: a second stitch in the same place, pass
: the needle back through the loop. As
: you complete second the stitch, this
loop will make a small, secure knot
: against your fabric.
a,
Cutting Lace
When using lace on a garment, it’s wise
: to consider how best to utilise every
: last centimetre. This is vital if you have
: a limited amount! The points below will
: help you to plan ahead and make smart
: decisions when placing and cutting out
: lace. Some points will apply more than
: others depending on whether you’re
cutting lace for a pattern piece or just
: using it to trim a garment.
: PLACEMENT
: To show lace in its true glory, you don’t
: want to hide the loveliest parts under
: the arms or towards the back of the
: gusset (these are the places where you:
should be hiding the joins). Instead, first : of where to change direction Is at an
: select a section of the lace design that
: you love or which has the most visual
impact, then try to place this centrally
: on the garment for lace trims, and in
balance or matching if the lace pieces
: are used symmetrically in the garment
: (such as for bra cups or Knicker fronts
and backs). We say balance, as you
: may not have enough lace to cut a
: perfect pair, in which case try to cut
: a sympathetic pairing which avoids
: any strong visual contrasts between
: the pieces.
To help you stick to your cutting
: plans, try photocopying the lace and
: drawing your pattern pieces onto it to
: follow. Or simply trace your pattern
pieces onto acetate so you can see the
: lace design through it as you lay and
: cut them out.
: DIRECTION & MATCHING
: Look at the lace you’re about to use to
: see whether its design has motifs which
: flow in a left or right direction. Some
: lace trims have no direction. Lace
: galloons in particular, as described in
: Sew to Begin, have two decorative
: edges running both left and right.
All-over lace designs can sometimes
: run top to bottom or left to right. It’s
: important to note this from the start.
Where a trim is used horizontally
around a garment, it’s best to try and
: keep the direction matching for the
: neckline, waist and hem. However, if
: the lace needs some joins, focus on
: keeping the direction the same for the
: garment front and if necessary, apply a
: different direction for the garment back.
For bra cups and leg hems, mirroring
: a placement works best. For bras in
particular, the most pleasing result is
: when the design is symmetrical on
: the cups and the direction continues
: through each corresponding wing,
: giving a flow to the garment design.
With limited lace, the best choice
: underarm, side seam or gusset.
om ON AND SEW FORTH 99
PATTERN CUTTING : pin inside the rouleau, i 2 Thread 15mm of the strap through
Maintaining measurements is important i gently sliding the fabric i the ring, fold under 5mm of the raw
and not as tricky as you might imagine : over itself. edge and place back against the strap.
when working along a scallop edge. 5 Once turned through Pin and tack-to secure.
There’s one simple rule to follow: lift
and lower. You need to ensure you
: completely, press the
seam to one side of ny “T
i]
3 Place the strap onto the back of the
garment w/s to w/s so that the turned
maintain the complete s/a along the : the length. Rolling the H strap edge is concealed. To position
H
sewing line of the pattern piece so this ? seam between your i the back strap, align the bottom of
the ring central to the tailor’s tack and
may require you to lift or lower one or : fingers will encourage ele)
both ends of the pattern piece to make : it to move to the edge. hae 5mm above
this possible. : If your fabric is a the garment
i particularly light, pin is] edge. Pin, tack
: the rouleau to prevent and hand sew
: the seam twisting and | is backstitch (see
'} remove the pins as you } page 98).
: press. 4 Take the
6 To finish, measure remaining end
: and trim the completed =e
oe
een)
of the strap, turn
: rouleau to the lengths under 5mm and
i specified for the align the fold with
: garment. the bottom edge
Rouleau of the garment
(either at the
Rouleau can be used in many different yo
straps
elastic or the
ways, but the method for making it is
ees os ——
seam of a lace
always the same. As we recommend trim) and trim
you avoid trimming the rouleau to an i Making shoulder and if necessary. Pin, tack and hand sew
exact length until the very end, it’s : Suspender straps involves adding metal backstitch.
always best to sew a little extra. rings and sliders, which means you’ll 5 Where the strap passes over
1 Following the straight grain of the : be stitching small areas, close to metal. elastic, or if the strap is made of a
fabric, measure, mark and cut strips to So for these sewing steps hand sewing particularly light or flimsy fabric, use
the widths and lengths specified for the : is often the best choice to avoid any overhand stitch (see page 98) to secure
garment. : mishaps! it around the edges and/or to the elastic.
2 Fold the fabric strip lengthwise To finish, remove the tacking.
r/s to r/s. Pin, tack and sew. Start : SHOULDER STRAP BACK RINGS 6 Repeat these steps with the
and finish the sewing with b/s or : For the small lengths of strap used to remaining shoulder back strap ring.
leave thread ends to knot afterwards. : attach the rings to the back of your If you’re using a length of elastic strap
Remove the tacking. garment, the measurements will remain it will not fray,
3 Make a diagonal cut across the : the same whether you are using a rigid therefore you
width at one end, taking care to leave : or stretch fabric. This means the fabric only need to add
the b/s intact. The shorter diagonal! : can match your shoulder straps or 15mm at step
edge needs to be at the folded edge. : become a subtle design feature in your 1 and do not
4 Gather the tube onto a rouleau loop garment, adding a hint of colour, print need to make ——_—__.
turner securing the latch hook through : or matching a contrast bow or ribbon. : the 5mm turns
the b/s. Bag out the rouleau by sliding at steps 2 and 4.
the length towards the latch hook while 1 Measure the garment vertically
gently pulling on the turner. Alternatively between the back strap notches and
a safety pin can be used. Simply pin i add 25mm. Cut two lengths of back
through the b/s and thread the safety : Strap to this measurement.
For Boudoir Blushes 2 Thread 15mm of the strap upwards : 3 Thread the remaining |
camisole... (see page 53) : and around the centre : strap end through the top
This garment only requires small i bar of the slider, : of the suspender clip and
lengths of strap. Measure and cut two : placing the end back : back through the slider.
35mm lengths of strap. At step 2 thread : against the strap. : Continue to pull the strap
10mm through the ring and turn 10mm i Pin, tack and hand : through until the slider is
at the remaining raw edge up towards : sew backstitch (see : 5cm from the top of the
the ring so both strap ends overlap and : page 98) 10mm from i suspender clip.
are concealed. Theri continue with step : the edge of the slider : 4 Repeat these steps
3 and remove the tacking to finish. : to secure. If the strap : with the remaining
: material is liable to : suspender straps. Attach
For Whisper of Kisses : fray, simply turn under : to the garment following
camisole... (see page 63) : the 5mm to conceal i the garment steps.
At step 4, turn the remaining end of the : the end. Remove the
strap under and finish in line with the : tacking.
edge of the lace (ensuring you hand 3 Thread the
sew backstitch onto the garment fabric, i remaining strap end
not the lace). This position will depend : through the strap
on the design of the lace, therefore ring and through the
you'll need to trim the strap as required. slider. Continue to
Then continue with the steps. : pull the strap until
: the slider is 5cm
SHOULDER STRAPS : from the top of
Straps are an ideal opportunity to bring i the ring.
originality to your creations. The steps 4 Repeat
for making them are simple, but you i these steps
need to be precise as you are making
a matching pair. The most important
: with the remaining strap.
WY
points to remember are: : DETACHABLE
¢ Make sure you select the correct i i SUSPENDER STRAPS
measurements given for the garment
depending on whether the strap :;STRAPS : 3 for the adjustable
material you want to use is rigid or 1 Measure and cut suspender straps, pulling
stretch. : lengths of elastic the strap through until the
* Carefully follow the : strap as specified for slider sits 83cm from the
specific instructions :; the garment. top of the clip.
given for the angle and 2 Thread 15mm of 2 Thread 10mm of
position to attach front : the strap upwards the remaining strap
straps. This can affect : and around the centre end through the swan
the fit so it’s best to : bar of the slider, hook, placing the end
pin the finished straps i placing the end back back against the strap.
in place and try the : against the strap. Pin, Pin, tack and hand sew
garment on to double ? tack and hand sew backstitch (see page 98)
check before you finally : backstitch (see page 5mm from the edge of the
sew them in place. ? 98) 10mm from the swan hook. Remove the
1 Measure and cut : edge of the slider to tacking.
two lengths of strap secure. Remove the
as specified for the i tacking.
garment.

SEW ON AND SEW FORTH 101

. - ' : 3 Measure and cut three lengths of 1 Measure and cut lengths of elastic
. yf : strap for the loops needed to hold each and make the lengths of rouleau as
: swan hook to the garment. The lengths i specified for the garment.
: need to be three times the width of the 2 Insert the-elastic into the rouleau.
garment elastic to which the loop will Pin and tack to anchor the elastic
. : be attached. 15mm in from each end of the rouleau.
: 4 Place the strap length onto the : Gather the rouleau evenly along the
: inside of the garment w/s to w/s with : elastic’s length, then temporarily move
: the elastic hem. Align the strap end the gathers away from the ends, leaving
: to the bottom edge of the hem and : the first 3cm at each end flat and
: central to the corresponding tailor’s : smooth.
? tack. Pin, tack and hand sew backstitch 3 Thread 15mm of
: in line with the top edge of the garment : the strap through the
elastic. Remove the tacking. : Suspender clip with
: the edge of the elastic
oe inside in line with the
’ top of the clip. Turn
under a further 5mm
——
of rouleau, placing
nN gy S& B& AX this fold against the
a AY strap. Pin, tack and
hand sew backstitch
(see page 98) 5mm
5 Fold the strap down and turn under from the suspender
5mm at the end. Pin, tack and sew clip. Sew overhand
overhand stitch along the fold securing stitch (see page 98)
: it to the elastic. Remove the tacking. along the sides to
? secure. Remove the
tacking.
PY PY oyPew PYYW PY\ Pr'T a frY gh fo 4 Repeat these
CY YY PEM VG % Us Pw
Yuen
RY yP
SE, . steps with the
: remaining straps.
5 Before attaching
: the remaining end to
: the garment, b/s or
: hand sew backstitch
: 5mm from the edge of the elastic inside
6 Repeat these steps with the : to secure. Remove the tacking and trim
remaining detachable suspenders and : the rouleau to 10mm.
loops. 6 Place the strap w/s to w/s onto the
garment, with the length of strap lying
COVERED ELASTIC SUSPENDER : on the fabric. Align the strap central
STRAPS to the corresponding vertical garment
These suspender straps are truly : seam and the edge of the elastic inside
vintage and do not have any the strap end 15mm above the garment
+ adjustment once attached to the : hem. Pin, tack and sew from the r/s of
: garment. Give them a try with stockings the garment with hand sew backstitch
: to check the lengths are correct before : following the elastic edge. Remove the
: you sew them in place. i tacking.

102
 mee
VAIN : URI
LVAVAVAVAVAVACAVAVAVAUAYH
€ suspender clip. It is important to check
AVAVAY,
7 Fold the strap down, concealing the
turned edge of the rouleau and the
backstitch from step 6. Sew overhand
stitch around all of the edges to finish
and completely secure the strap to the
garment.
8 Repeat steps 5 to 7 with the
remaining straps.
It’s best to wait until the suspenders
are attached to the garment before you
move the gathers back evenly along the
strap.
V SUSPENDER STRAPS
V suspender straps are very simple to
sew, but require careful and precise
positioning when attaching to the
garment. So before sewing them in
place, check you’re happy with the
suspender positions by trying them
on with stockings. To create the best
fit possible, it’s important to have
matching front and back pairs.
1 Measure and cut four pieces of rigid
strap, each 12cm in length.
: 2 Fold the strap in half, mark and sew a
: tailor’s tack (See page 98) atthe mark.
3 Thread the strap through the top of
the suspender clip.
4 Fold under 5mm at each strap end.
: Lay the V suspender and garment flat,
: w/s uppermost. Place the turned strap
: ends onto and covering the elastic
: hem, concealing the raw edges. Align
: each strap central to the corresponding
: tailor’s tacks on the garment. Align the
: tailor’s tack on the strap, central to the
: that the strap is flat as it guarantees the ;
angle of the-overlap is correct for the
: garment. Pin and tack the strap at the
: hem and suspender clip.
AN a i
om am
AVAVATAUAUAYAUAUAD,
5 Hand sew backstitch (See page
98) where the strap overlaps above
: the suspender clip and sew a further
two rows in line with each edge of the
: elastic at the garment hem.
6 To finish, sew overhand stitch (see
page 98) to the edges of the strap
along the elastic hem of the garment.
: Remove the tacking.
7 Repeat these steps with the
i remaining V suspender straps.
If you use a material for the V
; Suspender straps that doesn't fray, do
: not turn the ends under at step 4.
SUSPENDER FLASHES
: Just as you might use a ribbon bow
to add a hint of colour, suspender
: flashes can be used to similar effect.
For aesthetic reasons, we recommend
: always using 15mm-wide ribbon,
: unless your clips and elastic are wider
: than this, in which case the ribbon
:: should match that width.
A tip to keep flashes looking balanced
: is to make sure that the front and back
: pairs are symmetrical.
| PLAIN FLASHES
1 Measure and cut 15mm-wide
ribbon into 13cm lengths.
2 Thread the ribbon through the top
~ of the suspender clip until the ends are
level.
3 Pin and sew a bar tack (see page
:; 98) through both sides of ribbon,
: including the plastic clip, 10mm from
the top of the suspender clip.
4 To finish, cut the ribbon ends at an
: angle.
5 Repeat these steps with the
remaining flashes.
|FAUX PLEAT FLASHES
1 Measure and cut pairs of 15mm-
wide ribbon, 13cm in length.
2 Pin, tack and sew the pair together,
: t/s to r/s, along one of the long edges,
: using a 2mm s/a. Start and finish your
: sewing with b/s or leave thread ends
: to knot afterwards. Cut each end to a
point leaving the b/s in place. Remove
i the tacking.
3 Placing the seam innermost, thread
the ribbon through the top of the
suspender clip until the ends are level.
4 To finish, place a bar tack at each
: side of the ribbon at the top of the
: suspender clip to secure the flash in
i place.
SEW ON AND SEw FORTH 103
 5 Repeat the steps with the remaining
flashes.
If you've used cotton or silk ribbon
and would like to add a vintage feel,
try gently teasing the ends to create a
lightly frayed look.
Closures
The rule of thumb with lingerie closures
is that the hook section is attached to
the RHSW and the eye section to the
LHSW.
HOOK & EYE
There are three parts to the making
and attaching of the hook & eyes used
in this book; the hook, the eye and
the covered elastic that joins the eye
section to the garment. This length of
covered elastic is crucial for a good
fit and provides more comfort and
flexibility to the fit of the garment.
HANDMADE HOOK & EYE
1 Beginning with the covered elastic
length, which attaches the eye section
to the garment, cut a 20cm strip of
fabric 55mm-wide on the straight grain
(this includes some additional length
to make sewing easier). Make a 10mm
turning at one end. Pin and tack. Make
a length of rouleau (See page 100)
from this strip and cut an 8cm length,
measuring from the folded edge.
2 Insert a 5cm length of 18-20mm
elastic into the rouleau and align both
of the ends. Smoothing the gathers
away, pin and sew a line of tacking
10mm from each end. If the elastic is
fiddly to insert, simply fold it in half
lengthwise and encourage it to flatten
out once inside the rouleau.
3 Place 10mm of the CB LHSW wing
inside the folded edge of the rouleau.
Pin, tack and hand sew backstitch (see
page 98) 5mm from the covered elastic
104 [HE SECRETS OF SEWING LINGERIE
edge, securing the elastic, rouleau and
wing together. Sew overhand stitch (see
page 98) around all of the edges.
4 For the eye section, mark and cut
a piece of fabric using the diagram
opposite. If necessary, mark the dotted
sewing line with an air erasable pen
and follow it when sewing the curved
corners in step 8.
5 Turn a 10mm s/a at the open edge,
w/s to w/s. Pin and tack.
6 Using the fold lines, match each
pair of notches. Pin, tack and sew a line
between the notches to create three
tucks. Remove the tacking and press
the tucks away from the open edge.
7 Cut a 10cm square of fabric (this
includes some additional width and
length to make sewing easier). Make
3(: :
GRD
GK
SK
AKO
CERO
KD
SOK
GORD
CeOKD
Sooo
corre
aD
Geers
a 10mm turn along one of the edges,
w/s to w/s, to form the open edge that
corresponds to the edge of the eye
section you've already sewn. Pin and
tack.
8 Place the two pieces r/s to r/s, with
the tucked piece uppermost, aligning
the open edges. Pin and tack. Sew
together following the 10mm s/a around
the three sides of the tucked piece.
Sew a small curve around the corners.
9 Trim the s/a to 5mm using the
tucked piece as your guide and cut
diagonally across the curved corners.
Bag out and press.
10 Cut a piece of wadding using the
finished sewing as a guide and insert.
Make sure it is long enough to fill the
fabric and align with the open edge.
11 Hand sew a single eye centrally
 : to the garment. The side of the tape
: with eyes lies flat against the body,
Eye Section Hook Section
; providing a facing to protect the skin.
10cm
: The side with hooks, folds under the
: garment.
The Head Over Heels longline bra
a 20mm = 20mm 35mm >) (see page 67) is side fastening at the
c an
a : LHSW. The steps below specifically
: refer to this side seam opening.
s \
e | 1 To make the h&e tape, cut two
30cm strips of fabric along the straight
o §
ee te|Kot
‘ BS) : grain, one 45mm wide and one 35mm
g
3
Be
®
=
Q f3
a : wide. These will form the r/s and w/s of
|
WLU
B/S Se
o
© |
i : the tape respectively.
edge
s/a
10mm
open Q
i. i. en Siena)
2 Fold the wider strip lengthwise w/s
10mm s/a : to w/s, 17mm from one edge. Press,
=~ ae: : pin and tack. Sew a 5Smm-wide tuck.
10mm 10mm 10mm : Remove the tacking, open up the strip
: of fabric and press the tuck flat towards
sewing line : the remaining wider side of the tape.
Diagrams are not to scale 3 Lay the two strips together r/s to
i r/s. Pin, tack and sew along the long
: edges. Remove the tacking and bag
out similarly to making a rouleau length
: (see page 100). To finish, press and
under each tuck. Be sure to stitch i READYMADE HOOK & EYE : topstitch along both long sides, 2mm
through all layers of fabric under the : Readymade hook & eyes are available : from each edge. The tucked side is the
tuck. To finish, slipstitch (see page 99) in standard widths. To help you, we’ve : t/s of the h&e tape.
along each tuck to secure the folded : made a note of the size you’ll need in 4 Unpick and trim the elastic at the
edges. each garment’s Gather list. : u/a and u/b, 10mm back from the s/s
12 To attach the eye section, insert : 1 Follow steps 1 to 3 of the : edges. Measure the tape against each
10mm of the covered elastic inside : Handmade Hook & Eye (see page 104). : s/s, 10mm in from the s/s edges. Add
the open edge. Pin, tack and hand i 2 Beginning with the LHSW, insert : 10mm at each end, mark and cut in line
sew backstitch 5mm in from the open : 10mm of the covered elastic into the : with the garment edges.
edge. To finish the eye section, slipstich i opening of the hook section. Pin, tack 5 Sew a line of tacking 10mm from
around the open edge. : and hand sew backstitch 5mm from the s/s edge of both the cup and wing.
13 For the hook section, repeat steps : the edge, securing the elastic, rouleau 6 Lay the tape onto the cup, r/s to r/s,
4 to 11 using the diagram above. : and wing together. Sew overhand stitch : with the folded edge of the tuck facing
14 Place 10mm of the CB RHSW : around all of the edges. Remove the : away from the cup s/s edge. Align the
wing inside the hook section. Pin, tack : tacking. : tacking on the cup with the folded
and hand sew backstitch 5mm from the ? 3 Place 10mm of the CB RHSW wing : edge of the tuck. Pin and sew together,
folded edge, securing the hook section : inside the hook section. Pin, tack and : sewing along the stitch line of the tuck.
and wing together. To finish the hook : hand sew backstitch 5mm from the : Fold the cup back in line with the folded
section, sew overhand stitches around : edge. Sew overhand stitch around all of edge of the tuck. Slipstitch (see page
all edges. : the edges. Remove the tacking. : 99) the cup fabric to the top fabric of
15 To finish the h&e, remove all of : the tuck only, leaving the tuck open.
the tacking from all of the completed ' HANDMADE HOOK & EYE TAPE 7 Lay the tape flat to the w/s of the
sections. : It’s important to note that each side of garment, concealing the seam edges
? the hook & eye tape attaches differently : and creating a facing. Make a double

SEW ON AND SEW FORTH 105

 5mm turn at the ends of the tape,
folding to the w/s of the garment, in
line with the edges of the u/a and u/b.
Pin, tack and hand sew backstitch (see
page 98).
8 Remove the tacking and bone the
cup edge of the s/s (See page 114).
9 For the s/s of the wing, sew as in
step 6 but with the folded edge of the
tuck facing towards the wing s/s edge.
Sew together 5mm from the wing s/s
edge and slipstitch the wing fabric to
the tape alongside the tuck, leaving the
tuck open.
10 Trim the tape ends by 5mm and
fold 5mm w/s to w/s. Pin and tack.
11 Fold the remaining side of the tape
to the w/s of the wing in line with the
seam and folded tuck edge. Pin and
tack, forming a channel which can be
boned. Follow boning steps 3 to 6 only
(see page 115). Remove the tacking.
12 Hand sew single eyes under the
tuck at the cup seam, and hooks at the
106
: wing seam. Sew the top and bottom : s/s 10mm from the s/s edge, ensuring
? ones first, 5mm from each edge and the eyes are evenly spaced out along
: the others at even 20-25mm intervals. : the length. Add 10mm at each end,
: Stitch through all layers of fabric under mark and cut in line with the garment
i the tuck and ensure the hooks and eyes edges. As the hook and eyes need
: match to fasten the garment correctly. : to match, fasten the cut length to the
: Corresponding tape, mark and cut.
3 Lay the eye tape onto the cup, r/s
: to r/s, with the eyes facing away from
: the seam edges. Align the tacking on
: the cup with the tape's centre seam.
Pin, tack and sew together 5mm from
: the cup s/s edge, taking care to avoid
: any metal. Fold the cup back and
——
slipstitch (see page 99) it to the tape.
4 Lay the tape flat to the w/s of the
garment, concealing the seam edges
and creating a facing. Make a double
5mm turn at the top and bottom of the
tape, folding to the w/s of the garment
in line with the edges of the u/a and
u/b. Pin, tack and hand sew backstitch
(see page 98).
VV 5 Remove the tacking and bone the
vue
RAEI ARIR ISSR
JA 8 wiv. Cup edge (see page 114).
6 For the s/s of the wing repeat steps
3 and 4. Trim the tape edges by 5mm
and turn 5mm, w/s to w/s. Pin and tack.
: 13 To finish, slipstitch along each tuck : 7 To finish, fold the remaining side
: to secure the folded edge. : Of the tape to the w/s of the wing,
: in line with the seam edge. Pin and
! tack, forming a channel, which can be
READYMADE HOOK & EYE TAPE : boned. Follow boning steps 3 to 6 only
: Most readymade hook & eye tape has : (see page 115). Remove the tacking.
: fastenings at 25mm intervals. Therefore
positioning the tape incorrectly will
: affect the fit of the garment. Make sure: GATED BACK CLOSURE
: there is a fastening within 5mm of the This vintage closure fastens using a
: finished underband edge; an additional, : swan hook and loop, and is supported
: single hook and eye can then be sewn : by a small section of boning at each
: close to the underarm edge as is : side. It can be made using either rigid
: sometimes found at the top of zips on : or stretch material so each garment
: outerwear. specifies the appropriate material for
1 Unpick and trim the elastic at the : that design. It’s important to follow these
: u/a and u/b, 10mm back from the s/s recommendations to ensure the best fit.
: edges. Sew a line of tacking 10mm 1 Take the CB of each bra wing or
: from the s/s edge along both the cup suspender panel and turn under 5mm,
: and wing. : wW/s to w/s. Pin and tack in place.
2 Measure the tape against the cup 2 Measure and cut two lengths of
 strap as specified for the garment.
Begin with the swan hook, which is
attached to the RHSW of the garment.
Fold the strap length in half and mark
this point with a tailor’s tack (see page
98).
3 With the swan hook opening placed
sideways and downwards, thread the
Strap through theSwan hook. .
4 Lay the strap and garment flat,
w/s uppermost. Place 10mm of the

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strap ends onto the CB wing top and

bottom while aligning the tailor’s tack
on the strap central to the swan hook.
It’s important to check that the strap
is flat as it guarantees the angle of the
overlap is correct for the garment. Pin
and tack at the CB edge and swan hook.
5 Hand sew backstitch (see page 98)
where the strap overlaps beside the
swan hook and at the wing, 5mm from
the CB edge. Trim the straps at the CB
if needed.
6 To create the loop for the LHSW of
the garment, fold the remaining strap
length in half and mark this point with a
tailor’s tack. :
7 Similarly to step 4, lay the strap and 8 Hand sew backstitch at the strap 10 To finish, remove the tacking.
garment flat, w/s uppermost and place: fold to form the loop and at the wing,
10mm of the strap ends onto the CB 5mm from the CB edge. Trim the straps
wing top and bottom whilst aligning the : at the CB if needed. Remove the tacking.
tailor’s tack on the strap centrally. Pin 9 Cut two lengths of strap 10mm
and tack at the CB edge and 5mm from _: longer than the CB edges and sew
tailor’s tack at the strap fold. boning (See page 114).

SEW ON AND EW FORTH 107

 COVERED ELASTIC BACK 7 With the garment panels still r/s to
CLOSURE r/s, lay them out with the side of
This closure is not symmetrical; the fabric you wish to be the outer, facing
elastic attached to the swan hook uppermost. Take the CB edge that will
(with the rouleau gathered along it) is therefore be the RHSW, lay the closure
much longer than the elastic that forms r/s uppermost so that it is entirely
the loop, which is shorter and flat in sandwiched between the two layers of
appearance to allow for easy fastening. fabric. Align all CB edges of the fabric
1 Cut lengths of elastic and make the and the closure. Pin, tack and sew in
rouleau (see page 100) as specified for place.
the garment.
2 Begin with the swan hook, which is
attached to the RHSW of the garment.
Take the longer lengths of rouleau and
elastic and insert the elastic into the
rouleau. Gather the rouleau evenly
along the elastic.
3 Pin and tack to anchor the elastic
20mm in from one end of the rouleau
and in line with the edge at the other
end. Temporarily move the gathers
away from the ends, leaving the first
38cm at each end flat and smooth.
4 Place the swan hook opening
sideways and downwards and thread
20mm of rouleau through the swan
hook (thread the end which has the
elastic secured 20mm from the edge 8 To make the other side of the
of the rouleau). Ensure the edge of the closure, take the remaining length of
elastic inside the rouleau sits in line with rouleau and insert the elastic. Align the
the swan hook. elastic ends with the rouleau edges.
The fabric for this side should be flat
with no gathers. Pin, tack and hand
sew backstitch each end in place.
9 Fold this section of the closure
in half lengthways and hand sew
backstitch through the two layers,
10mm from the fold.
10 Repeat step 7 with the remaining
folded part of the closure to secure it
5 Turn under 10mm of the rouleau, between the two LHSW CB panels.
placing this fold against the covered Once the closure is attached to the
elastic length. Pin, tack and hand sew garment, move the gathers back evenly
backstitch (See page 98) 5mm from this along the length of the covered elastic.
folded edge securing the turn and the
elastic. Remove the tacking. POPPER PLACKET
6 Hand sew backstitch the remaining This technique illustrates the kind
VRE end of the strap, securing the elastic in
ae
of sewing genius typical of vintage,
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handmade lingerie techniques.

108
Beautifully neat and light in
appearance, it works perfectly paired
with delicate fabrics.
1 Make a length of rouleau (see page
100) as specified for the garment.
2 Topstitch the rouleau along both
sides, 2mm from each edge. Fold the
rouleau in half and mark this point with
a tajlor’s tack (seepage 98).
3 Working with the r/s of the garment
uppermost, lay the s/s open. Where the
French seam finishes, the innermost
3mm edge continues to turn. Press
these edges r/s to r/s and tack along
the front and back panels.
4 Place the rouleau’s tailor’s tack to
the finishing point of the French seam.
Lay the rouleau flat, overlapping the
turned edge of the garment by 5mm.
Pin and tack together along the turned : the edge of the rouleau, joining it to the
edge of the garment s/s. Trim the front and back of the garment. Repeat
rouleau ends level with the w/b. on the w/s of the garment, sewing
5 Working on the r/s of the garment, along the turned edge of the garment
begin 10mm either side of the French s/s, joining it to the rouleau. Remove
seam and slipstitch (See page 99) along the tacking.
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6 Fold the rouleau that's attached to
the front of the garment so that it lies
behind the front panel, w/s to w/s, and
sew a tailor’s tack at the waistline. The
rouleau attached to the back of the
garment remains level with the fabric as
it will lie under the front garment when
fastened.
7 To finish,
lay the s/s flat
and mark or
pin at 3-4cm
intervals
for the
Poppers,
starting
with one
10mm below the
w/b. Stitch the row of
female poppers first. Then
lay the closure flat and using a pin,
accurately mark where the male popper
needs to be sewn.
SEW ON AND SEW FORTH 109
 Waistoands
Instead of stitching elastic directly onto
the garment, creating a waistband
allows the elastic a certain degree of
freedom and, in turn, the waistline has
a softer appearance.
For ease of threading, particularly
with delicate, sheer fabrics, we suggest
using a bodkin as its rounded edges
are less likely to snag the fabric.
However, a reliable safety pin will
suffice if you don’t have a bodkin in
your sewing kit.
ENCLOSED ELASTIC
WAISTBAND
Covering the elastic within a waistband
creates comfort and allows you to
make small adjustments to get the
perfect fit.
1 From the w/s of the garment, turn
in 5mm around the w/b of the garment.
Pin, tack and press.
2 Turn a further 15mm. Pin and tack
to the w/s of the garment. Press around
the top of the w/b.
3 From the w/s of the garment, sew
around the w/b along the folded edge.
Stitch no more than 2mm from the
edge. Remove the tacking.
4 Sew around the w/b along the
lower fold. Stitch no more than 2mm
from the edge. Leave a 3cm opening to
the side of the CB seam.
5 Measure and cut the elastic as
specified for the garment. Attach a
bodkin or safety pin to one end of the
110
elastic and insert it into the channel,
feeding it around the w/b. Check the
elastic is not twisted, then lap the ends
and sew back and forth over the elastic
to secure them together. Trim the ends.
6 Ease the elastic join into the w/b
and close the opening with slipstitch
(see page 99). ‘
7 To finish, ease the elastic around
the w/b to distribute the gathers evenly
in the fabric.
DOUBLE ROW ZIGZAG
If your waistband elastic is wider than
10mm (excluding decorative edges),
sewing a double row of narrow zigzag
stitch is the most secure way to attach
it to your garment.
1 Measure and cut a length of elastic
as specified for the garment.
2 Place it r/s to r/s along the w/b
of the garment, overlapping the
fabric edge by 5mm. Ensure the top,
decorative elastic edge is facing
towards the body of the garment.
3 Pin in place, stretching the
elastic out evenly in the same way
as you would when attaching a
narrower elastic.
4 Sew along the top edge using a
narrow z/z stitch approximately
3-4mm wide.
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 5 Turn the elastic in to sit w/s to w/s
with the garment. Pin and sew in place
along the bottom edge of the elastic,
using a second row of narrow 2/z stitch.
Gently stretch the elastic to ease the
fabric gathers as you sew (stretching
the elastic too much will distort the fit of
the garment). *
4 ra
Gussets
Gussets need to be absolute in
neatness and discretion, both for
comfort and so they don’t interfere with
the appearance of the garment.
PETAL GUSSET
1 Lay and cut out the pattern piece
from the same fabric as your garment,
or an alternative, suitably lightweight
woven fabric.
2 Working from the w/s, turn over
5mm along each edge. Approach this
around the pattern piece from one edge
to the next so that the turned fabric of
each edge lies neatly at the corners
without trimming.
3 Pin, tack
and press.
Topstitch
around
: lengthways with the CF/CB of the
: garment and widthways with the gusset
: seam. Pin and bar tack (see page 98)
the gusset at each of the four corners.
Hems & Seams
Either for final flourishes or to give a
: beautiful inside finish to your garment,
: mastering these hem and seam
: techniques will leave you with truly
: luxurious, handmade lingerie.
| TURN & STITCHED SEAM
: (also referred to as a turned-under finish)
: This seam finish conceals and protects
i any raw edges of the fabric with
: minimal fuss and bother.
1 Place the pattern piece edges
together r/s to r/s. Sew a 10mm seam.
2 Working from the w/s of the
garment, press the seam open. Turn
: under 5mm along each side of the
: seam against the garment. Pin, tack
: and press.
3 Working from the r/s of the garment,
: sew a topstitch 2-3mm from the centre
: seam line.
4 To finish, remove the tacking and
: press.
: FAUX FRENCH SEAM
: (also referred to as a mock or simulated
: French seam)
: Occasionally fabrics are too delicate to
: withstand a conventional French seam,
: such as when stitching lace to lace. In
: these scenarios, this seam is far less
: Stressful for the fabric and you!
: 1 Place the pattern pieces r/s to r/s
: and sew a 10mm seam.
: 2 Working from the w/s of the
: garment, make a 5mm turning along
: each side of the seam, folding the s/a in
: on itself. Place the folded edges of this
: seam together. Pin, tack and press (if
: necessary).
: 3 To join the edges along the length,
use overhand stitch (See page 98) for
: joining fabrics and whipstitch (see page
: 98) for lace. For faux French seams that
: meet at a corner, sew overhand stitch
: close together each side of the small,
: cut edge in the fabric.
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SEW ON AND SEW FORTH 111

 SIDE VENT
These slits, found at the bottom of side
seams, not only look coquettish they
also offer extra ease of movement,
particularly when sewing rigid fabrics.
1 Pin the front and back pattern
pieces together r/s to r/s along the s/s.
Sew a 10mm seam, starting at the top
of the w/b and finishing at the notch.
2 Working from the w/s of the
garment, press the seam open. Turn
under 5mm along each side of the
seam against the garment. Pin, tack
and press.
3 Working from the r/s of the garment,
topstitch 2-3mm from the centre seam
line, starting at the w/b and finishing at
the hem.
4 Hand sew a bar tack (see page 98)
at the top of the vent to reinforce it.
1 Press a 5mm s/a, r/s to r/s,
upwards around the edge of the
garment to be hemmed. Pin and tack.
2 Lay the lace trim along this edge,
aligning the decorative top of the lace
trim with the raw edge. Pin and tack,
allowing 10mm at the lace trim ends to
overlap, turn under and join.
3 Topstitch 2-3mm from this edge.
This will ensure you’ve secured the raw
edge properly.
4 To finish, remove the tacking, press
and join the lace (see page 113).

ROLLED HEM
As the narrowest type of hem, a rolled
ee
See
hem is perfect for lingerie; the fabric
just needs to be light enough to be
rolled between your forefinger and
thumb. Take the time to tack your guide
line though; it’s a failsafe method for a
stitch-perfect hem.
1 Tack a line 5mm from the raw fabric
edge.
2 Roll the edge between your thumb
and forefinger so that it curls inwards
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towards the w/s of the fabric. Stop
when the line of tacking is visible
along the top of the roll. If the fabric
is particularly flimsy, it may be easier
to start by folding 2mm first and then
rolling.
REVERSE HEM 3 With a knot at the end of your
A clever little finishing technique seen thread sew a small stitch, passing the
on many a vintage, handmade item of needle through the bottom of the roll.
lingerie; it’s a quick and simple method 4 Pick up a single thread from the
to add a trim while preventing any fabric and continue sewing slipstitch
unwanted fraying. (see page 99) along the bottom of the

112 THE SECRETS OF SEWING LINGERIE

roll. As you stitch, you'll find the hem
begins rolling of its own accord and
just needs some encouragement every
3-4cm.
5 To finish, remove the tacking.
SHELL EDGE
Subtle and yet so very pretty, a shell
edge finish can be worked along
straight or bias-cut edges to equally
stunning effect. On particularly light
fabrics the appearance of the stitch will
be softer still and more evident on the
w/s of the fabric. Don’t be fooled into
thinking your stitches are too tight!
1 Working from the w/s of the
garment, pin, tack and press a 5mm
turning along the garment edge. Turn a
further 5mm and pin.
2 Sew a tiny running stitch along the
edge of the turning. Every three or four
running stitches sew two overhand
stitches (See page 98) — taking the
needle over the edge and back through
in line with the last running stitch.
As you pull the thread, the edge will
collapse, forming the shell. The running
stitch is not visible from the r/s of the
garment, but the overhand stitch is
visible.
ee
3 Repeat step 2 for the length of the : JOINING LACE
edge. To finish, remove the tacking. : There are two main methods for
This type of edge should not be joining lace on a garment. The most
pressed. : appropriate choice is dependent on the
As a guide for the shell lengths, try : style of lace; for ornate or delicate lace
marking 5mm intervals along the edge : the appliqué method is more suitable.
: with an air erasable marker or tailor’s : And if needs must, it’s also the perfect
: Chalk. This will also help you to plan : way to repair any little tears.
: around the side seam, as a badly
: placed shell in the middle of a side |FOLDED JOIN
seam can look a little awkward. 1 Trim the uppermost lace edge. Fold
under 5mm and place the fold back
: MITRING A LACE TRIM against the lace edge underneath.
Mitring is the ideal way to create a 2 Sew whipstitch (see page 98) along
: corner in.a lace trim, without having to : the fold and alittle along the top and
i sew a tiny and potentially frustrating : bottom to finish the join.
: seam.
1 Tack the lace along the fabric as
required.
2 At the corner, fold the lace back
: onto itself, r/s to r/s, pinching it out at
: an angle on the w/s to form a mitre.
: Pin and lay the lace trim onto the fabric
: after the corner to check the mitre
: angle is correct.
_ APPLIQUE JOIN
1 Trim the uppermost lace edge
around the design to match or work
sympathetically at the join, overlapping
: slightly with the edge underneath.
2 Sew whipstitch (see page 98)
: 3 Tack and sew along the mitre angle
: from the w/s. The folded material can
: be trimmed away or, if fragile, left in
: place. °
4 Remove the tacking and sew
whipstitch (see page 98) to secure the
: fold or the cut edges.
SEW ON AND SEW FORTH 113
 INSERTED LACE SEAM If you decide to try this technique with BONING
This is a stunning technique which a fabric that’s neither woven cotton nor For the soft lingerie designs in this
gives the illusion of an inserted lace. It jersey, we recommend using pinking book, plastic boning will be more than
can also be used to great effect should shears to trim the fabric away at step adequate. If you’re using a fragile
you feel the urge to restyle one of our 4. Or, simply turn a double fold of the : fabric that can snag, consider investing
garment designs. You’ll be surprised by : fabric edges back onio the wrong side in plastic boning caps. There’s a
how clever and hassle free it is! of the garment and either topstitch variety of materials you can use to
1 Place the pattern pieces r/s to r/s. using a zigzag stitch for knitted fabrics, create the boning channel, such as
Pin, tack and sew together. As this seam or a lockstitch for woven fabrics. rigid strap or bias binding tape. We
will be unpicked in step 4, do not b/s. recommend selecting something soft
2 Working from the r/s of the garment,
lay and align the lace trim centrally along
the seam. Pin and tack along both
edges of the lace trim. Trim the ends,
or, if prefered, leave a small amount at
each end to turn and finish the edge.
3 Topstitch the lace trim to the
garment using a narrow 2/Z stitch,
sewing 2-3mm from each edge and
taking care to b/s at the start and finish.
4 Working from the w/s of the
garment, unpick the centre seam from
step 1. If the fabric does not fray, you
can trim each side of the fabric to 5mm.
5 To finish, remove the tacking and
press. ~
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114
and reasonably strong so you won’t be
aware of it against your skin and you
don’t risk the bone bursting through.
1 Measure the garment s/s to be
boned, add 10mm and cut bias tape,
rouleau or strap lengths as required.
2 Working on the w/s of the garment,
lay the tape over the seam or along the
edge to be boned Turn under 5mm
at the bottom edge in line with the
garment, pin and tack. If the edge or
seam is angled, you may need to trim
the 5mm turn due to the angle.
3 Topstitch the longer edge of the
tape (furthest from the seam edge),
2mm from the tape edge. If the fabric
you’re sewing is particularly fragile,
hand sew backstitch (See page 98)
instead, making sure you work from the
r/s of the garment.
4 Sew overhand stitch (see page 98)
around the remaining edges leaving the
top edge, and a little to either side of
this top edge, open.
5 Measure and cut a length of boning
5mm shorter in length than the garment
edge or seam length and insert this into
the channel. For additional comfort, fit
a boning cap to each end of the bone
before inserting it.
6 To finish, turn 5mm at the top
inwards and sew overhand stitch to
close the opening. Remove the tacking.
For Sugar Darlin’ Sweetheart
bra... (see page 57)
Sew the boning onto the bottom cup
fabric section of the seam only.
Darts, Tucks
_& Gathers
: PINTUCKS
: The final finish of a pintuck owes
: much to the fabric it’s made from. For
: example, cotton will always leave a
: Crisper line than chiffon.
1 Working from the r/s of the pattern
piece, match the notches at each end
to create a fold along the length of the
fabric. Pin, tack and press.
2 Sew along the fold, 2-3mm from
the edge. It’s best to avoid using b/s as
: it can disturb the fabric edge; instead
=: leave thread ends to knot by hand.
3 Repeat steps 1 and 2 with the
: remaining pintucks.
4 To finish, remove the tacking and
press each pintuck to lay in the same
: direction.
? DARTS
: Darts give a garment shape to fit
: around the contours of the body. The
: darts used in this book are straight-
: sided and are therefore simple and
approachable to sew on all fabrics,
: whether straight grain or bias.
1 Lay the pattern piece flat and fold
i the fabric along the fold line of the
: dart, aligning the two notches which
: mark the base of the dart. The fold
: line should fall perfectly in line with the
: tailor’s tack that marks the dart head.
2 Pin a straight line between the
: notches and the tailor’s tack and tack
: just below this line. Remove the pins
: and press the fold.
3 Sew from the notches to the dart
: head. On reaching the dart head,
: carefully run the stitches off the fabric.
: Do not b/s. Rounding off the dart like
: this creates a smooth finish.
4 Knot and trim the thread ends to
: secure the dart head and remove the
i tacking.
5 Repeat for the remaining dart.
6 To finish, press the dart outwards
away from the CF for bra cups and
i downwards for camisoles.
Placing brown paper between the
: dart and the wrong side of the fabric
: while pressing will stop an impression
: of the dart being created on the front of
: the garment.
If the fabric does not fray, such
: as with tulle or lace, it's possible to
: topstitch the darted fabric, then trim the
fabric away leaving 3-5mm alongside
: the topstitching.
For Baby Cakes bra... (see page
i 50)
: After step 4, the darts should be
: topstitched. Simply pin and tack the
: darted fabric in place and sew 2mm
: along the length of the dart. Do not
backstitch alongside the dart head;
knot the threads ends by hand instead.
To finish, remove the tacking.
For Boudoir Blushes
camisole... (see page 53)
: The folded fabric of the dart must not
: be trimmed away.
ATH 115
DART TUCKS
(also referred to as released tucks)
Using dart tucks in rigid lingerie helps
to tailor excess fabric volume in a way
which works in favour of the look and
fit. For the optimum finish, multiple
tucks require consistency in the length
of your sewing lines.
When cutting a pattern piece with
dart tucks, each dart tuck is indicated
by a pair of notches with corresponding
sewing lines. To ensure you can identify
the length and direction of sewing
required, mark the notches as well as
the finishing points (indicated by solid
dots) of these sewing lines. This can
be done using an air erasable marker,
tailor’s chalk or tailor’s tacks (See
page 98).
1 Working along the pattern piece,
place each corresponding pair of
notches together. Pin, tack and sew
in place, finishing your sewing line at
the required point marked. You can
either b/s or leave thread ends to knot
by hand. On delicate fabrics and lace
you may prefer to hand sew a row of
backstitch (see page 98). The fold line
serves as an excellent parallel guide.
2 Repeat step 1 with all remaining
dart tucks.
3 To finish, remove the tacking and
press each dart tuck flat.
: SEPARATE FRILL
A separate frill, made from lace trim
: ora strip of non-fraying fabric such as
: tulle, can be a dramatic way to edge a
: smooth pattern piece.
It’s best to visually assess how much
: volume you'd like the frill to have as you
: pin it to the garment. Therefore start
: with a long length of lace trim or fabric,
: to allow you to experiment until you
: feel content with the frilliness. To add
: volume, place the tucks closer together
: or fold more fabric into each tuck. To
: reduce volume, fold in less fabric or
: place the tucks further apart.
Turn under and tack any garment
: seam allowance before attaching a
: separate frill. For garments which
: open out flat such as suspenders,
: turn under a seam allowance at each
: short end of the frill and topstitch in
: place. For closed areas of garments
: such as knicker waistbands or legs,
: simply overlap the two ends flat when
: they meet and topstitch together once
: you've attached the frill to the garment.
: 1 Turn and topstitch the s/a along one
: end of the frill length. With the w/s of
:; the garment uppermost and starting at
: as/s for knickers or at the CB opening
for suspenders, pin and tack the r/s of
: the frill length to the w/s of the garment,
: overlapping it by 5mm.
2 Continue tacking the frill length into
place along the edge of the pattern
: piece, folding small tucks into it at
: regular intervals. We suggest trying
: tucks that measure 10mm wide every
: 3cm and adjusting these measurements
: according to your visual preference.
3 To curve the frill length around
points on suspenders, create three
tucks close together at each point.
LOR
EAREOALEEDVEDEEEIESSIS
ENE NEN
VAI
wz Be
CATATATAVAATAVATATATATATATACATATACA A AA
ree
AG VV
|
|
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:
: 4To finish, topstitch the tucked frill
: length in place and remove the tacking.
Embellishment
Embellishment is a wonderful way to
imprint your personal style and create a
: truly unique garment. We’ve suggested
: some simple embellishment techniques
: and possible applications below; how
far you take them is up to you!
:
: EMBROIDERY HOOPS
: Embroidery hoops are used to hold fabric
taut while it’s embroidered. They’re a
: Cheap and essential tool for creating
beautiful, evenly stitched designs. : around the needle two or three times : POLKA DOTS
1 Draw your design onto the fabric : depending on how big you'd like the : Polka dots are a staple pattern in
using an air erasable pen. : knot to be. lingerie, you can embroider your own
2 Loosen the screw or nut of the large 3 Still holding the floss taut, reinsert : in whatever colour.and size takes your
outer hoop. Separate the two hoops the needle just beside its original entry fancy. To create an even pattern, use
and lay the small inner hoop on a flat : point and slowly pull the floss all the : aruler and an air erasable pen to mark
surface (placing it on a cutting mat will : way through to form the knot. : the placement of the dots before you
help minimise movement). 4 If you're sewing an individual French : begin embroidering.
3 Lay the fabric-over the inner,hoop : knot, secure the floss with a knot on 1 Tie a knot in the floss and bring
with your design in the centre. : the w/s of the fabric or, if you're sewing the needle up at the centre of your first
4 Place the outer hoop over the inner : a cluster of French knots, bring the : mark.
hoop and press down, sandwiching the needle back up at the point of your next : 2 Hand sew short backstitches (see
fabric in between. : French knot and repeat steps 2 and 3. page 98) from the centre outwards,
5 Gently pull on the fabric outside When sewing French knots on : circling around until you’re happy with
of the hoops to tighten it. Your loaded : lingerie, it’s best to sew them close i the size of the dot.
fabric should be taut without any visible : together as long joining loops can 3 Secure the floss with a knot hidden
‘bubbles’, but be careful not to stretch : cause issues with delicate on the underside of each dot.
or distort it. : fabrics.
6 Tighten the screw.
When embroidering small lingerie
pattern pieces, it’s often easier to
embroider the fabric before cutting
the pattern piece out. To do this
successfully, lay your paper pattern
piece onto the fabric following the
correct grainline and trace around
its outline with a long tacking stitch.
Remove the paper pattern piece and
load the fabric into an embroidery
hoop. Cut the tacked shape out after
you’ve finished embroidering.
To avoid distortion, try not to leave
delicate fabrics loaded in embroidery
hoops for long periods of time. It’s
better to remove the hoops and reload
the fabric once you’re ready to continue
embroidering.

FRENCH KNOTS
French knots can be embroidered in
lines or scattered to create a field of
dainty dots. Use an air erasable pen to
mark where you'd like the knots to sit
before you begin embroidering.
1 Tie a knot in the floss and bring the
needle up at the point where you’d like
the first French knot to sit.
2 With the needle held close to the
fabric, keep the floss taut and wrap it

SEW ON AND SEW FORTH 117

 SPLIT STITCH
(Stitch length: 3-4mm)
This simple stitch can be used both to
outline shapes filled with satin stitch
or on its own as a dainty line. You will
need to use a divisible embroidery floss
to sew split stitch.
1 Tie a knot in the floss and sew a
short stitch.
2 Bring the needle back up in the
centre of the first stitch, dividing the
strands of floss as you do. Reinsert
the needle to form a second stitch
the same length as the first.
3 Repeat steps 1 and 2 to forma
line of split stitch.
SATIN STITCH
(Stitch length: varies according to the
width of shape you are filling)
This series of flat stitches embroidered
in close parallel lines, is ideal for filling
small areas such as flower petals,
leaves and the scrolling shapes of a
monogram letter. Experiment using
different embroidery flosses to create
varied lustres of satin stitch.
1 To achieve a well-defined edge to
the shape, trace its outline onto fabric
using an air erasable pen and sew
along it with split stitch.
2 Tie a knot in the floss. Starting at a
middle point along the left-hand side
of the shape, bring the needle up just
inside the outline and reinsert it just
118
: inside the outline on the opposite, right-
: hand side of the shape. Pull the floss
: through.
3 Bring your needle up again just
: above the first entry point on the left-
: hand side of the outline and reinsert it
: again just above the first exit point on
i the right-hand side.
4 Continue like this until you have
: filled the top half of the shape, then
: bring your needle back to where you
: began and fill the bottom half of the
i shape in the same way.
5 Secure your floss with a knot
hidden in the underside of the shape.
‘\_
: APPLIQUE LACE
Appliqué lace is visually exquisite and
: synonymous with couture and luxury
: lingerie. It’s impossible to mistake its
sheer beauty and, although it can be a
: labour of love, we think it’s worth every
: stitch!
1 Place the w/s of the lace onto the
: r/s of the fabric, edge to edge with the
scallop edge innermost. It’s important
i that the fabric supports the whole
: depth of the lace while you are sewing.
2 Pin and tack the lace to the fabric
along both edges. Trim and join the
ends of the lace together as necessary
: (See page 113). :
3 Sew blanket stitch (see page 99)
: along the scallop edge, keeping the
; lace furthest from you (this helps to
: avoid over handling, particularly if your
i fabric is delicate).
4 Remove the tacking. Working from
the w/s, carefully cut away the fabric
: between the edge of the garment and
* the scallop, leaving 5mm of fabric. Bar
tack (See page 98) below the lace line
any seams you'll cut through, to stop
the stitching running back.
5 To finish, press the garment taking
care not to stretch or pull the sewing line.
If you develop a passion for this
technique, specialist scissors are
. available; they’re often referred to
: as appliqué, embroidery, or duck bill
: scissors.
If you’re creating a cut-out from a
larger piece of lace, try to pick a corded
: edge to follow; the cord is the raised,
: thicker yarn often seen in lace. It will
: give the blanket stitch and the lace
: yarns something to cling to and limit
fraying. However, cutting through lace
: is not always a success, so try a tester
: section first.
Glossary mirrored design running petal gusset -a taking in - creating a
in opposite directions diamond-shaped tighter fit by adjusting
Most of the terms used in this book will be
to each other. gusset that is bar a garment’s seams so
familiar to home sewers. Where we’ve used less
tacked to the gusset that there is less fabric
common terms we’ve offered a full explanation grainline — the direction
area of knickers. in the pattern pieces.
within the text. To save you time, we’ve created in which the cross and
this quick reference guide that lists some of lengthwise threads run point d'esprit -—a toile — a trial garment
the most regularly used terms in this book, through a fabric. tulle with tiny dots made in cheap fabric,
alongside some ofthe more unusual ones that woven into the fabric. to test and adjust the
lengthwise grain
we haven’t otherwise explained. fit of a pattern before
— the threads that run presser foot — the
making up a finished
along a width of fabric, footplate of a sewing
garment.
all-over (a/o) lace -a boning — narrow strips parallel to the selvedge. machine, which holds
full fabric width of lace. of plastic inserted into the fabric down while topstitch — a straight
letting out —- creating
seams to create vertical sewing. or zigzag machine
appliqué — sewing a looser fit by adjusting
support and structure stitch sewn close to
small pieces of lace or a garment’s seams so RHSW (right-hand
in a garment. the seam edge of a
fabric to a larger piece that there is more fabric side as worn) - the
garment. It can be
of fabric. As a noun, it boning caps — small, in the pattern pieces. right-hand side of a
both functional and
also refers to the small plastic caps that fit garment once it’s on
LHSW (left-hand decorative.
pieces of lace or fabric onto both ends of the wearer’s body.
side as worn) -— the
themselves. boning to protect the underband (u/b)
left-hand side of a right side (r/s) — the
fabric and increase — the tight, usually
backstitch (b/s) garment once it’s on side of fabric that’s
comfort for the wearer. elasticated, band of
(machine) — a couple the wearer’s body. designed to be seen.
a bra that sits around
of backward-moving crosswise grain — the ruching — decorative
loft — a measurement the ribcage under the
stitches used at the threads that run across gathering in a fabric,
of the thickness and breasts.
start and finish of a width of fabric, usually along a seam.
height of wadding.
machine sewing to perpendicular to the whitework - a form
straight grain -a
anchor a line of sewing selvedge. modulus-a of embroidery that uses
common term used to
in place. measurement of elastic white floss sewn onto
ease — guiding the denote the lengthwise
strength and therefore a white background
backstitch (hand) fullness of a fabric grain of a fabric.
its stretch. fabric, often cotton.
— a line of stitching while sewing, without
suspender clip —
formed by inserting the creating any gathers or notches — triangular wing — the bra pattern
the metal or plastic
needle halfway along a tucks. pattern markers used piece which forms the
hardware that is used
preceding stitch on the to indicate a point for back of the garment,
flashes — short lengths to attach suspender
wrong side of a fabric. reference in garment from the side seam to
of ribbon attached to straps to stockings.
making. the centre back.
bagging out — turning suspender clips. swan hook - a small
two pieces of fabric on the fold — when piece of metal or plastic wrong side (w/s)
flat edge elastic — an — the side of a fabric
which have been the edge of a paper hardware that has one
elastic which has no that’s designed not to
stitched right sides pattern piece is lined closed end through
decorative edges. up with the folded edge be seen.
together, inside out so which a strap is sewn,
that the right sides are floss — a term used to of fabric. and one flat, open hook yoke — a small, shaped
facing out. describe many types of for attaching the strap panel of fabric that is
overhand stitch
thread suitable for use to a loop. tailored into the waist.
bodkin — a tool used (oversewing) —a
with hand-embroidery.
to insert elastic through joining stitch formed tacking — a temporary
a casing and to help galloon (lace) —a by passing a needle line of running stitch
shape corners of lace that has two vertically over two used to hold pattern
bagged out sewing. decorative edges with a fabric edges. pieces in place.
Pattern Layplans
Pretty as a Picnic Cotton Mini Mischief & Memories
These layplans can be used as a & Forget-Me-Knot Panelled Thong
visual checklist to make sure you've Embroidered Tulle Mini
cut out all of the pattern pieces for :
etal came ett as as ie :
your garment. In addition, they
also give you an indication of their
grainline and which ones should be
i= 7
raed 5
cut on the fold. Your own layplan may
vary according to the width of your SS

fabric though, so use these layplans

as a general guide.

stretch

Summer Snoozes Tease & Temptation

Cotton French Knickers Skirted Thong

stretch
————

Baby Cakes
Tulle Bra

grainline
grainine
pee ei
Y x

S
Boudoir Blushes Boudoir Blushes
Satin Camisole Satin French Knickers

Sugar Darlin' Sweetheart Sugar Darlin' Sweetheart

Silk and Lace Bra Silk and Lace Brazilian
ip eee% ame ee Pe A pee eet

stretch

Hush-a-Bye Hush-a-Bye
Jersey Vest Jersey Shorts

stretch

PATTERN LAYPLANS 121

Whisper of Kisses Whisper of Kisses
Chiffon Camisole Chiffon Tap Pants

Head Over Heels Head Over Heels

Silk and Lace Longline Bra Silk and Lace Waisted Brief

grainline Stretch grainline (Stretch

———"

iin
eae
5

L
2 ys

LA <%
|
( ee

\
S

Secret Promise
Triangle Suspender Belt

rainline
Pearls & Powderpuff Rouge & Polish
Traditional Suspender Belt Roll-on Suspender

grainline stretch
a vege a Sa ES
ae
ie cule
\ Ss \
a y \

I bos
res S\ 3 4

3 | Bo

| Sad
|
=

Love & Abandon Sweet Slumber Delicious at Dusk

Tie-side Minis Eye Mask Silk Lingerie Bag

stretch 7

1&2

PATTERN LAYPLANS 123

 Little Black Book
Barnet Lawson Morplan
Sourcing beautiful fabrics and trimmings can be a delightful
Trimmings General sewing equipment
part of making your own lingerie. Laura is particularly good
Wide range of trimmings www.morplan.com
at this and is fondly known as ‘the sorcerer’ for her ability to
www.bitrimmings.com
conjure up gorgeous finds! To help you start building your
Raystitch
own collection of materials, or to give you some new ideas
Beckford Silk Jersey and cotton in print
for places to look, we’ve put together this resource guide.
Wide range of silks and and plain
It lists some of our favourite shops, all of which have online
Nottingham lace www.raystitch.co.uk
stores and international shipping so you can indulge in their
www.beckfordsilk.co.uk
offerings no matter where in the world you may be.
The Sewing Chest
There will also be many more fabric shops and retailers,
The Button Queen Wide range of lingerie
such as John Lewis (www.johnlewis.com) that may be more
Antiague and modern buttons elastics, fastenings and trims
local to you. Keep your eyes peeled for haberdasheries and
www.thebuttonqueen.co.uk www.bramaker.co.uk
sewing cafés in your area that either sell the items on your
Gather list themselves or can point you in the direction of
Cloth House Stone Fabrics
somewhere that does.
Wide range of fabrics and Wide range of fabrics and
Etsy (www.etsy.com) and eBay (www.ebay.com) are also
trims some haberdashery
websites worth exploring, especially for items such as lingerie
www.clothhouse.com www.stonefabrics.co.uk
elastic. However, because you can’t see before you buy,
always check the written dimensions of items; relying solely
Croft Mill Truro Fabrics
on photographs can be misleading, particularly in terms of
scale.
Wide range of fabrics Wide range of fabrics
including jersey and cotton www.trurofabrics.com
We are enthusiastic advocates of visiting flea markets and
www.croftmill.co.uk
antiques fairs whenever possible. With a little patience and
a beady eye, the most fantastic, unique fabrics, laces and VV Rouleaux
trimmings can be found there. Try to hunt out haberdasheries, International Antiques Large range of ribbons,
and Collectors Fairs including silk
markets and fairs whenever you visit a new city. It’s a great
way to support local economies and any treasured find that Listings of antique fairs in www.vvrouleaux.com
you buy will remind you of your travels every time you see it!
the UK
www.iacf.co.uk Whaleys Bradford
Vast range of fabrics in
Kleins neutral colours or prepared
Wide range of elastics, for dying
fastenings and trims www.whaleys-bradford.|td.uk
www.kleins.co.uk

Liberty
Wide range of cottons and
silks in iconic prints
www.liberty.co.uk

MacCulloch & Wallis

Vast range of fabrics,
elastics, fastenings, trims
and haberdashery
www.macculloch-wallis.
co.uk

124
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 Index
a waisted briefs 18
abbreviations 23
adjustment 24-5
appliqué 86, 119
appliqué joins 113
appliqué lace 118
b camisole 53-5, 101,
baby cakes tulle bra and
mini 50-2, 115, 120
backstitch 22, 23, 43, 98,
119
bagging out 119
bags, delicious at dusk
lingerie 94-5, 123
bar tack 98
batting 14
beaded silk garter 93
bias cut 17, 20, 53
blanketstitch 99
bobbinet 14
bodkins 11, 77, 119
boning 114-15, 119
boning caps 119
boudoir blushes satin
camisole and French
knickers 538-5, 101, 115,
121
bows
attaching 31
double box bow 36
handmade 36
perfect hand-tied 36
tack bows 36
bras
baby cakes tulle bra
50-2, 115, 120
elastic for 18, 50, 52
head over heels silk and
lace longline bra 67-69,
122
measuring for 13
straps 18, 50, 57, 68
sugar darlin’ sweetheart
silk and lace bra 56-8,
ile), 24
Brazilian knickers, Sugar
darlin’ sweetheart silk
and lace 56-8, 121
briefs
head over heels silk and
lace waisted briefs
67-71, 122
126
brown paper 11
buds, handmade 36
Cc
camisoles 13
boudoir blushes satin
TS) 121
darts 24,115
length 24-5
straps 63
whisper of kisses chiffon
camisole 63-6, 101, 122
Chantilly lace 16
chiffon 10, 16
clickers awl 11
closures 104-9
covered elastic back
closure 108
gated back closure
106-7
hook and eye tape 105-6
hook and eyes 104-5
popper placket 108
colour 26-7
cotton 14
cotton jersey 14, 18
cotton lawn 14, 26
knitted cotton 18
crepe de chine 16, 18
crepe georgette 16
crosswise grain 17, 119
cutting board 10
cutting out 20-1
cutting paper patterns 100
d 42-4, 120
darts 24, 115
dart tucks 116
dearly beloved wedding
garters 90-3
delicious at dusk lingerie
bag 94-5, 123
designs, restyling 26
dressmaker’s carbon 11
dressmaker’s pins 11
dressmaker’s shears 10
dyeing fabric 26-7
e galloon (lace) 16, 119
ease 119
elastic 18, 24, 50, 52, 119
bra elastic 57 gated back closures 106-7 French knickers 53-5,
knicker elastic 30-1, 54 georgette 16 121
and thread colour 67 gifts 82-95 elastic 18, 54
elastics 18 dearly beloved wedding forget-me-knot
embellishment 116-18 garters 90-3 embroidered tulle mini
French knots 117 delicious at dusk lingerie 42-4, 120
monograms 88 bag 94-5, 123 head over heels silk and
polka dots 117 love and abandon tie- lace waisted briefs
embroidery 10, 11, 40, 119 side minis 84-7, 123 67-71, 122
forget-me-knot sweet slumber eye mask hush-a-bye jersey shorts
embroidered tulle mini 88-9, 123 59-62, 121
42-4, 120 grain 17, 119 love and abandon tie-
embroidery hoops 17, gussets 18, 111 side minis 84-7, 123
116-17 floating 18, 28 mischief and memories
eye mask, sweet slumber lace trim 66 panelled thong 34-7, 120
88-9, 123 petal 18, 111, 119 pretty as a picnic cotton
eyelash lace 16 mini 28-31, 120
h sugar darlin’ sweetheart
f habotai 16 silk and lace Brazilian
fabric 10 hand stitching 98-9 56-8, 121
dyeing 26-7 hand washing 27 summer snoozes cotton
and elastic 18 head over heels silk and French knickers 38-41,
hand washing 27 lace longline bra and 120
joining different 47 waisted briefs 67-71, tease and temptation
laying and cutting out 122 skirted thong 45-7, 120
20-1 hems and seams 17, whisper of kisses chiffon
pressing 20 111-15 tap pants 63-6, 122
sewing different types mitring a lace trim 113 knitted cotton 18
together 23 reverse hems 112 knotting thread 99
types of 14-16, 26 rolled hems 112-13
filling 14 shell edge 113 I
fitting 24-5 high hip measurement 12 lace 119
flashes, suspender 103-4 hook and eye tape appliqué lace 118
floating gussets 18, 28 handmade 105-6 around gussets 66
floss 119 readymade 106 cutting 99
forget-me-knot hook and eyes and elastic 18
embroidered tulle mini handmade 104-5 hand finishing 57
readymade 105 inserted lace seam 114
French curves 11 hush-a-bye jersey vest joining 58, 113
French knickers 17 and shorts 59-62, 121 laying and cutting out
boudoir blushes satin 20, 25
53-5, 121 i mitring a lace trim 50,
summer snoozes cotton ironing see pressing 113
38-41, 120 irons 11 placement 99
French knots 117 scallop-edged 79
French seams 22, 30 J types of 14, 16
frills 77 jersey 14, 23, 59-62 laying out 20-1
separate frills 116 layout paper 11, 20
k leavers lace 16
g knickers 32-47 lengthwise grain 17, 119
baby cakes tulle bra and letting out 119
garters, dearly beloved mini 50-2, 120 lingerie bag, delicious at
wedding 90-3 boudoir blushes satin dusk 94-5, 123
lingerie sets 48-71
baby cakes tulle bra and
mini 50-2, 120
boudoir blushes satin
camisole and French
knickers 53-5, 121 |
head over heels silk/~
and lace longline bra
and waisted briefs
67-71, 122
hush-a-bye jersey vest
and shorts 59-62, 121
sugar darlin’ sweetheart
silk and lace bra and
Brazilian 56-8, 121
whisper of kisses chiffon
camisole and tap pants
63-6, 122
lining paper 11, 20
lockstitch 22
loft 119
longline bras 67-71
love and abandon tie-side
minis 84-7, 123
Lycra 17
m mini 28-31, 120
measuring yourself 12-13
minis 13, 18
baby cakes tulle mini
50-2, 120
forget-me-knot
embroidered tulle mini
42-4, 120
love and abandon tie-
side minis 84-7, 123
pretty as a picnic cotton
minis 28-31, 120
mischief and memories
panelled thong 34-7, 120
modulus 119
n suspender 80-1, 123
natural waist measurement
12
necklines 17
needles 11, 23
net 14
notches 119
oO
overbust measurement 12
overhand stitch 98, 119
p seam allowances 22
pants, whisper of kisses seams 58, 70, 74, 80,
chiffon camisole and tap 111-15
63-6, 122 faux French 111
pattern master 11 French 30
pattern weights 11 inserted lace 114
patterned fabric 20, 53 side vents 112
patterns, paper turn and stitched 111
cutting 100 secret promise triangle
and grainline 17 suspender belt 74-6, 122
laying and cutting out selvedge 17, 119
20-1 sewing kit 10-11
pearls and powderpuff sewing machines 10, 22-3
traditional suspender needles 11
belt 77-9, 123 shorts, hush-a-bye jersey
petal gussets 18, 111, 119 59-62, 121
pins 11 shoulder straps 101
pintucks 115 shoulder strap back rings
point d’esprit 119 100-1
polka dots 117 side vents 112
poplin 14 silk 16, 18, 58
popper placket 109 pressing 20
powermesh 14, 18, 23 silk chiffon 26
presser foot 119 silk georgette 26
pressing 20 silk satin 79
pretty as a picnic cotton sizing 12-13
slipstitch 99
prints 26, 53 split stitch 118
stitches and stitching 22-3
backstitch 22, 23, 43,
quick unpick tool 11 98, 119
bar tack 98
r blanketstitch 99
restyling designs 26 hand stitching 98-9
ribbons overhand stitch 98, 119
handmade bows and running stitch 22
buds 36 satin stitch 118
roses and romance slipstitch 99
garters 90-3 split stitch 118
rosebuds 36 straight stitch 22
rotary cutter 10 tailor’s tacks 98
rouge and polish roll-on topstitching 34, 63, 79,
119
rouleau 100 whipstitch 34, 58, 98
rouleau loop turner 11 straight grain 17, 119
ruching 119 straps 24
running stitch 22 bra 50, 52, 68
camisoles 63
elastic 57
Ss
safety pins 11, 24 shoulder 100-1
satin 16, 18, 20 suspender 70, 100,
satin stitch 118 101-3
vest 62
scissors 11
stretch mesh 14
sugar darlin’ sweetheart
silk and lace bra and
Brazilian 56-8, 115, 121
sultry beaded silk garter 93
summer snoozes cotton
French knickers 38-41,
120
suspender clips 119
suspenders 13, 18, 72-81,
100
adjustable suspender
straps 101
covered elastic
suspender straps 102-3
detachable suspender
straps 70, 101-2
faux pleat flashes 103-4
pearls and powderpuff
traditional suspender
belt 77-9, 123
rouge and polish roll-on
suspender 80-1, 123
secret promise triangle
suspender belt 74-6,
122
suspender flashes 103
V suspender straps 103
swan hooks 119
sweet slumber eye mask
88-9, 123
symbols, paper pattern 21
t 110-11
tack bows 36
tacking 10, 22, 98, 119
tailor’s chalk 11
tailor’s tacks 22, 63, 98
taking in 119
tap pants 13
whisper of kisses chiffon
tap pants 63-6, 122
tape measure 11
tease and temptation
skirted thong 45-7, 120
tension 23
thigh measurement 12
thongs 13, 18
mischief and memories
panelled thong 34-7,
120
tease and temptation
skirted thong 45-7, 120
thread 10, 11, 22, 23, 67
‘knotting 99
thread clippers 11
tie-sided minis 84-7
toiles 24-5, 119
topstitching 34, 63, 119
decorating 79
tracing wheel 11
trims 10, 25
attaching 50
cutting lace 99
handmade bows and
buds 36
tucks, dart 116
tulle 14
tulle bras 50-2
u
underbands 119
unpicking 23
Vv
Valentine’s satin tide-side
mini 84-7
vents, side 112
vest, hush-a-bye jersey
59-62, 121
voile 14
Ww
wadding 14, 89, 94
waistbands 110-11
double row zig zag
elastic 18
enclosed elastic
waistbands 110
waisted briefs 67-71
washing, hand 27
wedding garters, dearly
beloved 90-3
whipstitch 34, 58, 98
whisper of kisses chiffon
camisole and tap pants
63-6, 101, 122
whitework 119
y
yoke 119
Acknowleagements
Kiadheine would lhe lo like...
Laura, for taking this journey with me and being such a dear
friend along the way. My friends and family for their support,
humour and encouragement over the past year and special
thanks to my mum for a lifetime of the same. Andrew Martin,
Helen Taylor, Jess, Delme and Amy, for welcoming an abundance
of lacy loveliness into their homes and studios. And Sian Williams
for offering a haven of a home to rest and sew in. I’m also very
grateful to Andy Sewell and Nat Smith for unknowingly playing
their vital parts in helping to bring this book into existence. And
of course, Owen and Anwypn, for everything, thank you.
Laura woul like lo Uh...
The lovely Katherine, creativity is ever more rewarding when there
is friendship, joy and laughter at its heart. To Pete, my wonderful
family and friends, for all of your love and support. Wherever you
are in the world, you are truly my nearest and dearest. Special
thanks to my Mum, for sharing a lifetime of sewing knowledge,
which has made this book all the more beautiful. And my sister
Kate, you inspire me! Always encouraging and endlessly patient,
thank you for fitting each and every one of these garments.
Wed toth like lo thank...
Jenny Hewson and the whole RCW family for weicoming us in
and showing us such great support. Judith Hannam, Claire Rogers
and everyone at Kyle Books, for believing in our idea. Sara, Amanda,
Sarah and Hannah, for lending us the occasional bust and bottom.
Ali Allen, Rebecca Callaby and Lucy Gowans for such beautiful
photographs and graphics. Catherine Seymour and David Vivian
for helping to make the pattern sheets printable. The Collections
Resources Centre, Leicestershire Museums. Stretchline, Tissages
Perrin, Brunet and Sakae. Sarah Rozenbaum of Chez Sarah,
Alice Lacroix and Les Perles d’Antan, for their generous guidance
and beautiful finds. And everyone who has responded with such
enthusiasm to this book; we can't wait to see what you make!
 ae. Liven
drawer with these go
from lingerie experts Katherine Sheers
and Laura Stanford, who between them —
have designed for both high street lingerie
retailers and luxury brands such
as Agent Provocateur.
From super easy Tie-side Minis
_ that can be made from inexpensive
materials and customised in
less ways, to sewing with silk,
other delicate fabrics,
your own
truly unique, beautif
bras and camisoles.
Includes 25 projects and patterns

vast scope for personal, creative expressic y=

in traditionally private items of clo
whether making them for y

“ Photography Ali Allen’

Design Lucy Gowans: