!

ine*
I NIng MacH
W9 Sew
£63 Plus QuiCk-sew
HalLoWeen IdeAs

FRESH IDEA ABRIC ISSUE FORTY SEVEN

21 THINGS TO MAKE
EASY-SEW
DRESSES
fr autumn!

6 WarDrobe
UpdAtes to try

STITCH IT!
 Ruffle dress
 Overnight bag
 Chic kimono

Timeless styles for your new-season wardrobe *T&Cs apply

HOW TO: Sew with jersey Denim updates Bag-making skills Bunting Baby gifts
Sew Amazing Offers Dealer List
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 FRESH IDEAS WITH FABRIC
Ah, autumn... If the lure of falling leaves and
toffee apples isn’t enough to put a smile on your
face, then the challenge of creating your best
transitional me-mades should do it! Fickle
weather, new trends and late-season weddings
call for multi-tasking garments that can be
layered, accessorised and customised to the max
– and that’s where our cover star, Matilda, comes
in! Floaty, feminine and ready for any occasion,
she’ll take you from office to date-night without
any drama. Her pal, Alexa (a jersey smock dress
with ruffle detail skirt), is our go-to garment for
weekend strolls in the park and coffee with the
gals. Just layer her up with your fave long-
sleeved tee and a pair of tights and you’re good
to go. That’s our capsule wardrobes sorted, then!
 e d r eamyp30
ISSUE FORTY SEVEN Makbunting,
clud
FRESH IDEAS WITH FABRIC CONTENTS

ew he
dress,Matilda
p32

P18
SWEET
ACCESSORIES

grEat pAtterNs foR you how To...

18 CHILDREN'S ROOM ACCESSORIES
32 PATTERN: THE MATILDA DRESS
41 TRANSFORM: JEANS UPDATE
43 PATTERNLESS KIMONO
51 BAG-MAKING: BOWLING BAG
55 PATTERN: THE ALEXA DRESS
61 EMBROIDERED THROW
69 DENIM UPCYCLE: TOTE BAG
71 SEWING ROOM GIFT SET
75 HALLOWEEN TRICK OR TREAT BAG
77 FOX PENCIL CASE
79 RAG DOLL TOY
37 WORKSHOP: RIBBON ROSES
Learn the technique and transform
a pre-made skirt with bright blooms
59 EMBROIDERY: FLORAL SOCKS
Learn Peking knot stitch and add
a flower border to a pair of socks
85 SEWING GUIDE
Tips, techniques and
a glossary

46 Go beHind The sCenes oF paTrick

raNt'S braNd, commUnity clotHing
Stitch a toy that
be treasured fr yill
to come, p79 ears
 77 neW seasoN
As much as we lovee
the summer, we
can't help but get
excited about
a new season of
sewing, and with itts stunningg
colour palette and the
opportunity for a wardrobe
refresh that it brings, autumn

15 has to be one of our faves. From

crush-worthy dresses and bags,
to quick-sew gifts and décor
ideas, this issue is bursting with
43 seasonally-inspired makes, both
big and small, to stretch your
stitching skills and boost your

69 sewing mojo. All that's left for

you to do is stock up on yummy
fabrics and supplies – hooray!
to win!
Elna SewIng MacHine, Nikki Morgan, Acting Editor

WorTh £639.
Your chance to win an Elna 570 sewing
machine for your craft room.
Turn to p15

goOd readS & ideaS

9 PINBOARD: Ideas, events, new fabric
14 SEWING QUARTER: KAFFE FASSETT
15 WIN: AN ELNA SEWING MACHINE
46 PROFILE: COMMUNITY CLOTHING
64 FEATURE: SEW FOR YOUR STYLE
89 COMING UP NEXT MONTH
90 MY FAVOURITE THING
* PAPER GIFTS ONLY AVAILABLE ON UK NEWSSTAND

N! acHine*
WI wIng M
Se
£639

FRESH
221THINGS TO MAKE
EASY-SEW
GREAT SUBS
uSuSmS
DRESSES
f autu
fr n! OFFERS! P16
6 WarDrobe
UpdAtes to try
SAVE TIME,
MONEY AND

61 37
STITCH IT!
 Ruffle dress
 Overnight bag
 Chic kimono
HASSLE WITH
AN ANNUAL
Timeless styles for your new-season wardrobe
HOW TO: Sew with jersey Denim updates Bag-making skills Bunting Baby gifts
SUBSCRIPTION
 CONTRIBUTORS
A huge thank you to this talented lot... FRESH IDEAS WITH FABRIC

ACTING EDITOR Nikki Morgan

SENIOR ART EDITOR Lisa Jones
TECHNICAL EDITOR Roisin McKenna
PRODUCTION EDITOR Michelle Grady
DIGITAL EDITOR Zoe Williams
PHOTOGRAPHY Philip Sowels, Dave Caudery and Jesse Wild

Call 0117 300 8206

SENIOR ADVERTISING MANAGER Penny Stokes
SENIOR SALES EXECUTIVE Tiffany Jackson
CLIENT PARTNERSHIP MANAGER Beckie Pring

SUBSCRIPTIONS DIRECTOR Jacky Perales Morris

DIRECT MARKETING EXECUTIVE Lily Nguyen
HEAD OF NEWSTRADE MARKETING Natalie Shearer
n
t to p u t imaginatioes.” “We aim to inspire young people NEWSTRADE MARKETING MANAGER Robert Brock
“I wa n cloth to consider careers in clothing.”
children’s
back into
Paul Torre, Karen Flannigan

KIRSTY HARTLEY PATRICK GRANT U

Kirsty is the designer behind childrenswear label
Wild Things and the author of two sewing books:
Wild Things: Funky Little Clothes to Sew and Wild
Things to Make. Get ready for Halloween with her
spook-tastic treat bag and bunting on page 75.
JUNIOR PRODUCTION COORDINATOR Lily Owens Crossman
Patrick Grant is a judge on BBC’s The Great British PRODUCTION MANAGER Sîan Rodgers / Emma McGuinness
Sewing Bee and the creative director at Savile Row PRODUCTION DIRECTOR Sarah Powell
tailor Norton & Sons and E. Tautz & Sons. He’s on
a mission to revolutionise UK manufacturing with
his new clothing label. Discover more on page 46. DIRECTOR OF INTERNATIONAL LICENSING
& SYNDICATION MANAGER
Tim Hudson tim.hudson@immediate.co.uk
INTERNATIONAL PARTNERS MANAGER
Anna Brown anna.brown@immediate.co.uk

PUBLISHER Liz Taylor

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

FRONTLINE Call +44 (0)1733 555161

BY WILLIAM GIBBONS

EDITORIAL TEAM
“Stitching ribbon flowers is so “Relax, work at your simplysewing@immediate.co.uk
simple, and looks gorgeous!” and enjoy the stitching ow n pace,
process.” SUBSCRIPTIONS TEAM
simplysewing@buysubscriptions.com
03330 162 149

ZOE PATCHING NANCY NICHOLSON

Zoe is a freelance embroiderer and crafter with
over 15 years’ experience on craft magazines.
As well as designing and stitching her latest
commisions, Zoe also teaches hand embroidery.
Try her ribbon lowers tutorial on page 37.
Nancy Nicholson is an embroidery designer
THURSDAY 4TH OCTOBER 2018
known for her folk art-inspired motifs, and is the
No gift included? Ask your newsagent.
author of two embroidery books. She shows you Covergift may be unavailable overseas.
how to decorate a cosy throw with a how-to from
her latest book, Big Embroidery, on page 61.

OTHER CONTRIBUTORS
Julia Bobbin, Jo Carter, Jessica Entwistle, Sarah Dawson, The Fold Line, Sarah Gane,
Mollie Johanson, Lisa Lam, Portia Lawrie, Karen Lewis, Louise Orth, Laura Pritchard
Special thanks to: Carolyn Bunt Immediate Media Company Bristol Limited (company number 05715415) is registered in England and Wales.
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 IDEAS INSPIRATION ACCESSORIES WEBSITES EVENTS STUFF

LUXE LIVING
Soft blankets, chunky knits, cosy nights in and endless mugs of hot chocolate – yes, winter is on its way, and we
can’t wait to get sewing for it! Stoff & Stil’s autumn/winter fabric collection is all about plush textures, jewel
colours and shimmering metallics, perfect for giving your living space a luxe look for winter lounging – think
velvet cushions, elegant linen drapes and modern quilts. Find the fabrics and patterns at www.stoffstil.co.uk

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 9

 TAKENOTE
W Remember how
exciting it was to get
new stationery at the
start of the school
year? We’re reliving
that feeling with the
Dressmaking Project
Bible from Stationery
Geek, the ultimate
sewing diary with
space for cataloguing
the details for 50
projects. There are
sections for fabric
types and quantities,
pattern adjustments,
swatches, sketches
and more, so you’ll
have all the key
project details to
hand in one place.
£7.49 from www.
stationery-geek.co.uk

RETAIL THERAPY
RigHt as RaiNe
Casual, comfy and oh-so-cute, the 1940s-
We’ll take any excuse to go shopping
for fabric – a new pattern, a change in
the weather, an urgent need to make
a pretty new dress – so we’ll be heading
inspired Raine Dress pattern by Jennifer out to our fave haberdashery to show
Lauren has us jitterbugging our way to our off this bright French-style net shopper,
sewing machines! With an all-in-one facing, ready to fill up with autumnal prints for
invisible side-seam zip and a waistband, it’s our new-season stash. It's available in
a rainbow of hues, so you can even
a fab skills-boosting frock. PDF approx £10, colour-match your bag to your me-
www.jenniferlaurenhandmade.store mades! £4.95, www.rexlondon.com

FOREST
FLORALS
Proving that summer doesn’t have the
monopoly on beautiful blooms, Maureen
Cracknell’s latest range for Art Gallery
Fabrics showcases the rich, golden shades
of autumn foliage. She evokes a walk
through a forest on a crisp autumn day
with all its flora and fauna, from scurrying
squirrels and curled-up foxes, to falling
acorns and flowers bursting into bloom
before the winter chill. A warm colour
palette of ochre, pumpkin, aubergine and
teal gives the collection a cosy feel that
lends itself to home projects, from quick-
sew scatter cushions and simple quilts to Bright-eyed and bushy-tailed! Cute
detailed patchwork. See the collection at critters and autumn foliage star
www.artgalleryfabrics.com in Art Gallery's new collection.

10 WWW.SIMPLYSEWINGMAG.COM

mini profile
NANCY
NICHOLSON
Everything from cats to teapots feature in
Nancy Nicholson’s colourful embroidery
designs, which have a magical, whimsical
quality to them that reflects her folk-art
influences – and has us itching to pick up
a needle and thread to embroider our own.
Textile art has always been a big part of
Nancy’s life: her mother, Joan Nicholson, was
an accomplished stitcher and embroidery
book author. “My main influence is my mother,
who left me her sketchbooks when she died,”
says Nancy. “I learnt sewing from watching her
while she was writing her embroidery books
– she would toss me bits of fabric and thread
to keep me quiet while she worked. We had
a very similar aesthetic (she also loved folk art)
and we worked well together.”
Nancy has always “been very visual in the
way I think,” although embroidery wasn’t her
first creative medium of choice. “I got a place
at art college to study graphic design, and
then went to the Royal College of Art for an
MA in Fine Art Textiles. My crafting interests
informed this more cerebral work, but it was
only when I had children that I began working
with one-off machine embroidery pieces,
which I exhibited for the next ten years
creating new collections each year.”
Launching her own embroidery business
“was an idea that was kicking around in my
head for many years,” but it was a breast
cancer diagnosis seven years ago that gave
Subscribe at www.simplysewingmag.com
her the motivation to give it a go. “Though I’m
fine now, that kind of experience concentrates
the mind, so once I was well enough I began
to develop the embroidery kit idea in earnest.”
Now, her working day is “pretty full on. I’ll be
up and straight to my computer in a nightie,
designing something or working on admin.
I do the design work in my home office but
I have a workshop a couple of miles away
where I’ll go to pack orders, then it’s home to
be designing again until it’s time to eat.”
While Nancy advises newbie stitchers to
“relax, work at your own pace, and enjoy,”
she’s certainly keeping up the pace when it
comes to adding to her collection – alongside
her new book, Big Embroidery, she's been
working on a collection of iron-on transfers,
which allow you to transfer her designs onto
any fabric, ready to stitch. “The first designs
are already available from our website, but the
great thing about the technology behind it is
that we can add new designs relatively easily,
so you can expect to see many more.”
Visit www.nancynicholson.co.uk, and stitch
a throw from Nancy’s new book on page 61.
Nancy's top embroidery
tip? "relax, work at your
own pace, and enjoy."
Pinboard
THE GOLDEN THREAD
Kassia St Clair (£20, John
Murray)
From the mummies of
Ancient Egypt to the silken
dragon robes of Imperial
China, the woollen sails of
Viking longboats to the lab-blended fibres
that have allowed astronauts to moonwalk,
Kassia charts a history of human civilisation
and creativity through the fabrics, manmade
and natural, that have changed and shaped
the world we live in. www.hodder.co.uk
TINY STITCHES
Irem Yazici (£12.99,
Search Press)
Small-scale and sweet,
these 20 projects from
Instagram sensation
Irem, aka @_.baobap._,
are just the thing for jazzing up a coat lapel,
jeans pocket or bag, or to give as a gift. No
more than ten stitches are used to embroider
the beginner-friendly designs, and there are
50 miniature motifs included for you to get
creative with. www.searchpress.com
TILDA HOT
CHOCOLATE SEWING
Tone Finnanger (£16.99,
SewandSo)
Warm your heart and your
home with 20 autumnal
projects to make – quilts,
softies, bags, dolls, accessories and purses
are all shown made in the Tilda BirdPond
fabric range to inspire you. The seasonal
designs include reindeer, mice, ducks, birds,
houses and more. www.sewandso.co.uk
SEW PERFECT PETS
Helen Rhiannon (£12.99,
Search Press)
Add character and colour
to your space with Helen
Rhiannon's fun and
practical pet-themed
projects for everyday living. Fill every room
of your home with handmade animal pals,
from a snake draught excluder, owl doorstop
and sheep hot water bottle cover, to a fox
pillow, elephant tea cosy and dog oven mitt,
with full templates and easy-to-follow step-
by-step instructions. www.searchpress.com
WWW.SIMPLYSEWINGMAG.COM 11
Pinboard
DREAM
MACHINE
WIf you’re ready to
take your sewing to
the next level, or even
launch a handmade
business, the Elna
eXcellence 720 Pro
machine offers the
perfect combination
of performance and
durability. Inspired by
industrial models,
this hard-working
machine has a choice
of 200 stitches, three
LED lights, variable
speed control and an
automatic thread
cutter – all you need
to bring is the fabric
and ideas! Exclusive
to Sewing Quarter –
see more at www.
sewingquarter.com
STAPLESTYLE
When the weather gets cooler, there’s
one item we reach for in our wardrobe
every day – our trusty denim jacket.

PreTty GatHers
This staple garment is just as pleasing
to sew as it is to wear, so we’ve got our
topstitching thread and denim fabric at
We want to get as much wear as possible out of our me- the ready for Merchant & Mills’ Ottoline,
mades, so we’re stocking up on pattern designs we can a workwear style with a boxy shape,
enjoy this season and the next – and Sew Over It’s new cuff and side-seam splits and an inside
Marguerite Dress is exactly the kind of frock we’re looking pocket, plus the option to omit the vent
for! This feminine gathered style will look just as lovely with detail for a simpler make. We can't wait
sandals and ballet pumps as it will with tights, boots and to jazz ours up with pins and patches!
a cardi in winter. PDF pattern £7.50, www.sewoverit.co.uk £14.50, www.merchantandmills.com

3 of the best
FELINE FINE
Take a walk on the wild side and try the animal
-print trend with our purrfect leopard picks.

1. Update your gallery wall with a piece of

paw-some leopard hoop art, hand-embroidered
using the needle punch technique. £11.99 from
www.imaginarytwins.etsy.com

2. Not quite feeling brave enough for all-over

leopard print? Start subtle with this breezy scarf
(you’ll be stitching a leopard-print dress to match
before you know it). £22, www.oliverbonas.com

3. Have a cat nap under this luxurious throw in an

abstract print, made in England from cosy merino
lambswool. £179.95, www.torimurphy.com

12 WWW.SIMPLYSEWINGMAG.COM
 Pinboard

Cool for school

Get the kids new-term ready
with school-day essentials you'll
probably want to keep yourself.

ELEGANT EVERYDAY
Swish your way into autumn with Victory ART ATTACK
Pattern’s chic Ulysses Trench. We love its Doodle on bags, bottles, pencil cases – or
classic details and contemporary floaty just about anything – with POSCA's paint
silhouette, ideal for throwing on over our pens. From £1.85, www.cultpens.com
me-mades on chilly days. It's an unlined
jacket, so we’ll be delving into our stash of SNACK HAPPY
colourful bindings to finish the seams for A cute retro print
a pro look. Visit www.victorypatterns.com and eco-friendly
fabric? Sorry, kids
– we might have to
have this one for

out & about our work lunches.

FeathEr lighT
Whether sewing is the only craft for you SKILLS, SHOWS
£20, www.aslice
ofgreen.co.uk

UNDER THE SEA

or you're a multi-disciplined maker,
Daylight Company’s Wafer 3 lightbox is
an invaluable creative tool. From tracing
& EVENTS Add a sprinkling of
Disney magic to the
school day with
patterns to sketching, embroidery to
6 & 7 OCTOBER a stationery set
embossing, scrapbook to calligraphy,
Leather Tote Bag – Weekend Workshop. The starring all their
this large-scale A2 lightbox is ideal for
Welsh Mill Hub, Frome. Learn traditional fave characters.
illuminating detailed work. It has a fully
leatherworking and make a leather tote. From £1.09 each,
dimmable LED, an even spread of light
www.facebook.com/loveallthingscreative www.papier.com
from edge to edge, and is lightweight
enough to take along to workshops.
11-14 OCTOBER DINO DUDE
£250 from www.daylightcompany.co.uk
The Knitting and Stitching Show, Alexandra With a set of mini
Palace, London. A four-day extravaganza of lunch boxes this
inspiring craft workshops and stalls. www. cool, they'll never
theknittingandstitchingshow.com notice that they're
filled with healthy
18-20 OCTOBER snacks... £10 for a
Craft4Crafters, Bath & West Showground. set of three, www.
A weekend of crafting classes and stash nhmshop.co.uk
shopping set over two exhibition halls and
a balcony area. www.craft4crafters.co.uk CUTE CARRY-ALL
This sweet small-
UNTIL 25 NOVEMBER size backpack is
Rip It Up: The Story of Scottish Pop. National perfect for a little
Museum of Scotland, Edinburgh. The first learner's school
Tracing large-scale major exhibition dedicated to Scottish pop essentials. £35,
patterns is a doddle with music, with iconic costumes, memorabilia, www.sage
Daylight's Wafer 3 lightbox. instruments and props. www.nms.ac.uk comme1image.
etsy.com

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 20%
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 Win an elna
sewing machine! Enter now for your chance to win an Elna 570 sewing
machine for your craft room, worth £639!

Prizeh
wort
£639

hether you’ve outgrown your tubular items, such as sleeves or

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worked your current model to
within an inch of its life, or just fancy
a shiny new upgrade, we suggest you
take a look at the wonderful Elna 570!
This suave-looking sewing machine is
a great all-rounder with lots of
exciting and time-saving features,
including a built-in needle threader,
automatic thread cutter, extra-high
presser foot, and an array of special
stitch combos. This clever model also
comes with a free arm for sewing
trouser hems, and an extension table
for stitching large-scale projects like
quilts. Priced at £639 the Elna 570 is
available to buy now from our pals
over at Sewing Quarter (www.sewing
quarter.com) but we’ve teamed up
with them and the lovely people at
Elna to give one away this month! To
be in with a chance of winning this
amazing prize, enter now at www.
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See www.simplysewingmag.com to enter today! (Delivery to UK only, see competition rules on p6.)
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 Children's room

Sweet sleep
Create a modern haven for little ones to snooze,
dream and play with adorable décorations and toys.

Designer: JESSICA ENTWISTLE Styling: LISA JONES Photography: PHILIP SOWELS

18 WWW.SIMPLYSEWINGMAG.COM
SheEp PluShie
1, 2, 3, 4... there are so many sheep hidden in this sweet
set of children's room makes, that we doubt you'll have
any trouble getting your little cherubs off to the land of
nod! And, while we know we shouldn't have favourites,
we can't help but be drawn to our friendly sheep plushie
(or Shirley as we have decided to call her), which can be
easily scaled up or down to stitch a woolly pal in any size
you like, from a cute pocket pal to a giant snuggle toy.

QuiLted toy bag

So many toys and not enough space to store them...
or so we thought, before whipping up this generously
proportioned storage bucket! It's finished with chic
quilting for added stability and cute, coordinating fabric
handles for easy carrying, when your toddler (and their
toys) are on the move. We'll be sewing up a version or two
of these neat storage bins for our craft rooms, too!
 Children's room

SunShine Play mat

Little explorers need a soft place to perch when they
are playing and building, and this super squishy play
mat is our new go-to design. Adding a little sunshine to
your floors, it's sun-ray-like-spokes can be made up in
super-soft fleece for snuggle time, or a mix of different
textured fabrics for sensory play. If making for toddlers,
the design can easily be enlarged to accommodate
them, along with a playmate or two as well!

RaiNbow CusHion
Lift your spirits come rain or shine with this fun
rainbow-shaped cushion sewn up in nursery-friendly
prints. It might not have a pot of gold at the end but
it does have chic clouds which provide added back
support – for you and the little ones – during story
time. See, dreams really can come true.

WWW.SIMPLYSEWINGMAG.COM 21
 Children's Room

CloUd BunTing
It's astounding just how much a simple strand or two of
bunting can soften and brighten a room, and this clever
cloud bunting in pastel shades is a testament to that.
Sewn from scraps of fabric, the end result far exceeds the
tiny amount of time and effort needed to whip up these
dreamy shapes, which is a big win for us busy sewists.
Not only does the bunting make a welcome addition to
a baby shower basket, it looks fabulous festooned across
our craft rooms, and of course, the Simply Sewing office!

AlpHabet Wall HanGing

Help little ones to learn their ABCs and prettify their
bedroom walls at the same time with this adorable
hanging alphabet art. Mix and match patterned fabrics
for a homespun look or switch fabric for felt in rainbow
shades for a bolder design. And, if you're feeling poetic,
why not go one step further and use our alphabet
templates to spell out uplifting sayings or rhymes? Or
just rows of 'Zzzzzzzzzzzs' for sleepy heads.

22 WWW.SIMPLYSEWINGMAG.COM

01
05
ALPHABET
WALL HANGING
YOU WILL NEED
QFabric A: 76x80cm (30x32in)
QFabric B: 16x85cm (7x34in)
QFabric C: 16x25cm (7x10in)
QFabric D: 16x25cm (7x10in)
QFabric E: 16x25cm (7x10in)
QWadding: 30x42cm (12x17in)
Q2 dowel poles, 1.2x50cm (½x9¾in)
QString: 100cm (40in)
QBondaweb: 30x42cm (12x17in)
QPattern paper: 30x42cm (12x17in)
QStranded cotton in pink and grey
QErasable fabric pen
QMatching thread
QBasic sewing kit
FABRICS USED
The fabrics used are from Counting
Sheep by Makower. For stockists visit
www.makoweruk.com
NOTES
QThe seam allowance is 1cm (3⁄8in).
QDownload the template from www.
simplysewingmag.com/downloads
24 WWW.SIMPLYSEWINGMAG.COM
children's room
02
06
CUTTING OUT
Step one From Fabric A cut:
Front and back: cut two 40x52cm (15¾x20½in).
Casing: cut two 12x35cm.
Step two Trace a mirror image of the template
onto paper. Place the Bondaweb onto the mirror
image and draw around the letters and sheep/
flower shapes. Cut out the Bondaweb shapes,
leaving 2mm (1⁄8in) outside of each edge.
Step three From Fabric B cut:
Binding: two strips 4x85cm (15⁄8x33¾in). Join
together to make a strip 170cm (67in) long.
Step four From Fabrics B, C, D and E cut:
Letters: press the Bondaweb onto the wrong side
(WS) of your chosen appliqué fabrics and then cut
out the shapes.
ADDING THE APPLIQUÉ
Step one Draw a line 1cm (3⁄8in) in from each of the
four outside edges of the front fabric piece. Then
draw another line 5cm (2in) in from each of the
outside edges – this rectangle should be the same
size as the outline of the template.
Step two Place the marked front fabric piece on
top of the right side (RS) of the template (not the
mirror image). Transfer the outline of the appliqué
onto the RS of the fabric using an erasable pen. 01
Step three Peel off the backing paper from the
Bondaweb-backed pieces and press the shapes
onto the fabric. We started with the sheep,
building up layers with the legs first, then the
sheep body and finally the sheep head. 02
Step four Topstitch around the edges of all the
appliqué, 2mm (1⁄8in) from the raw edges. 03
Step five Thread a needle with three strands of
grey stranded cotton and embroider the sheep
facial features and around the edge of the fleece
on their head with a back stitch.
Step six Thread a needle with three strands of pink
stranded cotton and embroider the centre of the
flowers with a satin stitch. We also back stitched
around the edge of the centre. 04
ADDING THE DOWEL CASING
Step one Take the casing fabric pieces and fold the
short edges in to the WS by 1cm (3⁄8in), press and
sew into place, then fold in half again lengthways
and press. 05
Step two Pin each casing strip centrally to the both
the top and bottom edges of the backing fabric
piece, aligning all raw edges. Staystitch in place. 06
BINDING THE WALL HANGING
Step one Take the backing fabric piece and lay it
WS up, place the wadding piece on top, then the
appliqué front RS up on top to create a sandwich.
Staystitch all the way around the outside edge to
hold in place. 07
 children's room
03 04

07 08

Step two Using a 1cm seam allowance, sew the Try fussy-cutting
binding strip to the front of the hanging RS prints to decorate
your hanging with
together. Start along the bottom edge and leave different shapes,
10cm (4in) of the binding overhanging at the animals and motifs.
starting point. To create a mitred corner, stop
sewing 1cm (3⁄8in) from the first corner, backstitch,
and then take the hanging off of the machine.
Step three Fold the binding up at an angle where
the stitching ends. Fold the binding back down
along the next side of the hanging.
Step four Start sewing at the top edge, sewing
over the folded corner and down the next side.
Repeat until you reach the start of the sewn-on
binding. Stop sewing 10cm (4in) from the end of
the binding.
Step five Mark the point where the binding strips
meet with an erasable pen. Sew the strips
together at the marked point. Check the binding
pieces line up then trim away any excess and
finger-press the seam open. Finish sewing the
remainder of the binding onto the appliqué front.
Step six Press the binding strip to the back of the
hanging. Tuck the raw edge under by 1cm (3⁄8in)
and topstitch into place. 08

INSERTING THE DOWEL POLES

Step one Insert one dowel pole into the upper
casing and one into the lower casing. Tie string to
the ends of the upper pole to finish.

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 25

 children's room
Quilted 01 02

Storage Bag
YOU WILL NEED
QMain fabric: 100x129cm (40x51in), for
the outer
QLining fabric: 110x129cm (43x51in), for
the lining, binding and handles
QBosal foam wadding: 120x129cm
(48x51in)
QPattern paper: 50x50cm
QTwine
QPencil
QErasable fabric pen
QMatching thread
QBasic sewing kit
03 04
MATERIALS USED
QThe fabrics used are from the
Counting Sheep collection by
Makower. For stockists visit www.
makoweruk.com
QThe bosal foam wadding is from www.
sewingstudiobath.com

NOTES
QIf your fabric has a directional print
you may not have enough width to cut
a strip 129cm (51in). In this case, you
will need to cut two pieces 46x65.5cm
(181⁄8x25¾in) and join them together
to make a 46x129cm (18x51in) strip.
QBosal is extra-firm foam which holds
its shape. You may find it easier to sew
with a walking foot.
Q Finished size: diameter 40cm (16in),
height 45cm (18in).
CUTTING OUT
Step one From the main fabric cut:
Base: 50x50cm (19¾x19¾in).
Outer bag: 46x129cm (181⁄8x50¾in).
Step two From the lining fabric cut:
Base lining: 50x50cm (19¾x19¾in).
Bag lining: 46x129cm (181⁄8x50¾in).
Handles: cut two 8x28cm (31⁄8x11in).
Binding: cut two 9x70cm (35⁄8x275⁄8in).
Step three From the foam wadding cut:
Base wadding: 50x50cm (19¾x19¾in).
Bag wadding: cut one 46x129cm (181⁄8x50¾in).
Handle wadding: cut two 3x28cm (1¼x11in).
MAKING THE BAG BOTTOM
Step one Lay the base lining wrong side (WS) up,
place the base wadding on top and the main
fabric base piece right side (RS) up on top. Seal
together using manufacturer’s instructions.
Step two Fold the pattern paper square in half and
then in half again. Mark a 26cm (10¼in) quarter
circle on the paper using a pencil tied to twine.
Cut out to create a 52cm (20½in) paper circle.
Step three Draw the outline of the circle onto the
main fabric side of the sandwich. Mark the eighth
points to make attaching the bag sides easier.
Step four Quilt the sandwich within the circle
shape. We quilted horizontal and vertical lines
every 4cm (15⁄8in) on our base. 01
Step five Cut out along the circle line then zigzag
stitch around the raw edge.
MAKING THE BAG SIDES
Step one Repeat as above to create a 46x129cm
(18x51in) quilt sandwich. Draw quilting lines as
before then quilt all the way along the length.
Step two Zigzag stitch along the two short raw
edges and bag bottom edge to finish.
Step three Pin or clip the two short edges RS
together. Sew with a 1.5cm (5⁄8in) seam allowance.
Press the seam allowance open.
Step four Topstitch 1cm (3⁄8in) from both seams. 02
ASSEMBLING THE BAG
Step one Mark the eighth points on the bottom of
your bag outer. Pin or clip it to the bag base RS
together, matching marked points.
Step two Sew with a 1cm (3⁄8in) seam allowance. 03
ATTACHING THE HANDLES
Step one Place a handle wadding piece in the
middle of the WS of a lining fabric handle piece
and fold one edge of the fabric over to sandwich
the foam. Turn the other edge to the WS by 1cm
and press, then fold it over again to encase the
other raw edge and topstitch all the way along.
Then topstitch along the opposite edge. Repeat
for the other handle.
Step two Pin and then staystitch a handle to the
bag outer 3cm (1¼in) out from the seam for both
ends. Repeat for the second handle. 04
ATTACHING THE BINDING
Step one Place the binding strips RS together at
a 90-degree angle. Sew diagonally where the two
strips meet. Trim off the excess and press.
Step two Starting at one of the side seams, pin the
binding to the bag top, RS facing. Leave 10cm (4in)
of binding overhanging at the starting point.
Step three Use a 1cm (3⁄8in) seam allowance to
stitch the binding to the top of the bag.
Step four Stop sewing 10cm (4in) before reaching
the starting point and remove the bag from the
machine. Mark the point where the binding strips
meet with an erasable pen and then sew the strips
together at the marked point. Check that the
binding pieces line up then trim away the excess
binding and finger-press the seam open. Sew the
remainder of the binding to the top of the bag.
Step five Press the binding strip to the inside of
the bag. Turn the raw edge to the WS by 1cm (3⁄8in)
and topstitch all the way around to finish.

26 WWW.SIMPLYSEWINGMAG.COM
 children's room
Sunshine Mat
YOU WILL NEED
01 02

QFabric A: 60x120cm (24x48in), for the

centre of the mat
QFabric B: 60x65cm (24x26in), for the
petals
QFabric C: 60x65cm (24x26in), for the
petals
QFabric D: 60x65cm (24x26in), for the
petals
QFabric E: 60x65cm (24x26in), for the
petals
QFabric F: 60x65cm (24x26in), for the
petals
QWadding: 60x120cm (24x48in)
QStuffing: 500g
QPaper: 110cm square, plus 15x20cm for 03 04
the petal
QTwine
QPencil
QErasable fabric pen
QMatching thread
QBasic sewing kit

FABRICS USED
The fabrics used are from the Counting
Sheep and Essentials collections by
Makower. Sheep Meadow, Yellow. Ref:
2018/Y. Counting Sheep, Clouds. Ref:
2020/T. New Gingham, Grey. Ref: 920/
S65. Spot, Primrose. Ref: 830/Y2. Star,
White. Ref: 306/W1. For stockists visit
www.makoweruk.com

NOTES
Q Use a 1cm (3⁄8in) seam allowance unless
otherwise stated.
Q Download the template from www.
simplysewingmag.com/downloads
CUTTING OUT
Step one To create the template for the large
circle, fold the 110cm square paper in half, and
then in half again. Mark a 26cm (10¼in) quarter
circle using a pencil tied to a piece of twine on
your paper. Cut out your paper quarter circle. Then
unfold the paper to reveal the 52cm (20½in) paper
circle. Create your petal template with the smaller
paper piece.
Step two From Fabric A cut:
Mat front: 60x60cm (235⁄8x235⁄8in).
Mat back: 60x60cm (235⁄8x235⁄8in).
Step three From the wadding cut:
Front wadding: 60x60cm (235⁄8x235⁄8in).
Back wadding: 60x60cm (235⁄8x235⁄8in).
Step four From each of Fabrics B, C, D, E and F: cut
six pieces 21x18cm (8¼x71⁄8in).
CREATING THE MAT CENTRE
Step one Draw around the circle template onto
both Fabric A pieces on the right side (RS) of the
fabric using an erasable pen. Mark the quarter and
eighth points as this will make it easier to join later. aligning all raw edges.
Step two Pin each Fabric A piece wrong side (WS) Step three Staystitch the petals to the mat. 03
together to a wadding piece. Tack all the way Step four Ensuring all the petals are as flat as
around the circle just inside the drawn outline to possible, place the wadded backing circle on top
hold in place. Quilt the fabric to hold together in RS facing down. Pin in place, aligning the eighth
your chosen design – we drew cloud shapes with marked points around the circle.
an erasable fabric marker, and then quilted along Step five Sew together, leaving a turning gap. 04
the drawn lines. 01
FINISHING OFF
MAKING THE PETALS Step one Turn the mat RS out and press. Tuck the
Step one Take two matching petal fabric pieces. turning gap edges inwards and pin in place, then
Draw around the petal template on the WS of one topstitch all the way around the circle to finish and
of the pieces. Pin the two pieces together. Sew close the turning gap.
together using a 1cm (3⁄8in) seam allowance from Step two Remove the staystitching from the petals
the petal short edge around to the other short and even out the stuffing for each one to finish.
edge. Backstitch at the start and finish.
Step two Clip off the excess fabric then turn RS out
and press.
Step three Stuff each petal, but not too firmly. Pin
the open edges together and tack using a 3cm
TIP: om poms for
o n s o r p
seam allowance. Repeat for all the other petal
b -
pieces to make 15 petals. 02 Add rib sunshine mat
e them
a tactil a t t a c h
ASSEMBLING THE MAT
t b e s u re to n 't be
Step one Cut around the circle drawn line of both jus so th e y c a
the front and back circle pieces to remove the
se c u r e l y
i t t l e h a nds!
excess fabric.
e d o u t by l
Step two Take the front mat circle and pin the
pul l
petals evenly all the way around the outside,

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 27


01
03
Sheep
YOU WILL NEED
Q Fabric A: 40x50cm (16x20in), for the
main body
Q Fabric B: 30x40cm (12x16in), for the
head and legs
Q Stuffing
Q Stranded cotton in pink and grey
Q 10cm (4in) embroidery hoop
Q Erasable fabric pen
Q Matching thread
Q Basic sewing kit
FABRICS USED
The fabrics used are from Counting
Sheep by Makower. New Gingham, Grey.
Ref: 920/S65. Spot, Primrose. Ref: 830/Y2.
For stockists visit www.makoweruk.com
NOTES
Q Download the templates from www.
simplysewingmag.com/downloads
Q The templates do not include a seam
allowance as the outer edge of each
template is the stitching line.
28 WWW.SIMPLYSEWINGMAG.COM
children's room
02
04
CUTTING OUT
Step one Download, print and cut out the
templates for the sheep.
Step two From Fabric A cut:
Front body: 15x20cm (6x8in).
Back body: 15x20cm (6x8in).
Step three Draw around the template for the body
onto both the front and back body fabric pieces,
making sure you have a mirror-image pair. Fold
the rest of the fabric in half with right sides (RS)
together and draw around the templates for the
fleece tail and fleece head pieces and pin.
Step four From Fabric B cut:
Front head: 15x15cm (6x6in) square. Using an
erasable fabric pen, draw around the head and
face details onto the RS of the fabric square.
Back head: 15x15cm (6x6in) squares.
Step five Fold the remaining Fabric B piece in half
RS together and draw around the leg template
four times onto the WS. Pin together the two
layers of fabric.
MAKING UP THE SHEEP SECTIONS
Step one Place the Fabric B sheep head marked
fabric into an embroidery hoop with the RS facing
upwards and embroider the facial features – we
used a mix of back stitch and satin stitch. 01
Step two Sew along the marked leg lines on the
pinned fabric. Cut out close to the sewn lines. Turn
RS out and lightly stuff, leaving the ends open.
Step three Take the Fabric A pinned fleece head
and fleece tail pieces and sew them together
along the marked lines, leaving a turning gap. Cut
off excess fabric then turn RS out and stuff. Close
the turning gaps with a ladder stitch.
Step four Pin the embroidered front head fabric to
the back head fabric square with RS facing. Sew
together around the template outline, leaving
a turning gap between both ears. Cut away any
excess fabric, clip the corners and turn RS out.
Stuff and close as before. 02
MAKING THE SHEEP BODY
Step one Staystitch the four legs onto the RS of
one of the body pieces, noting the angle at which
the legs will come out once sewn in.
Step two Pin the back body piece on top, making
sure the template lines line up. 03
Step three Sew together, leaving a turning gap
where the sheep head will be sewn on. Trim any
excess fabric, then turn the sheep RS out, stuff and
close as before.
FINISHING OFF
Step one Sew the fleece head piece on top of the
sheep head in ladder stitch all the way around. 04
Step two Repeat to sew the fleece tail and sheep
head onto the body.

01
03
Rainbow Cushion
YOU WILL NEED
Q Fabric A: 70x50cm (28x20in), for the
cushion background
Q Fabric B: 24x32cm (10x13in), for the
clouds
Q Fabric C: 30x28cm (12x11in), for the
rainbow bottom ring
Q Fabric D: 34x32cm (14x13in), for the
rainbow middle ring
Q Fabric E: 40x42cm (16x17in), for the
rainbow top ring
Q Bondaweb: 40x80cm (16x32in)
Q Stuffing: 350g
Q Matching sewing thread
Q Erasable fabric pen
Q Basic sewing kit
FABRICS USED
The fabrics used are from the Counting
Sheep and Essentials collections from
Makower. Visit www.makoweruk.com
NOTES
Q The seam allowance is 1cm (3⁄8in)
unless otherwise stated.
Q Download the template at www.
simplysewingmag.com/downloads
Subscribe at www.simplysewingmag.com
children's room
02
04
CUTTING OUT
Step one Download, print and cut out the
templates for the rainbow cushion.
Step two Create a mirror-image of the template so
you have a full rainbow with two clouds.
Step three From Fabric A cut:
Background front: 35x50cm (13¾x19¾in).
Background back: 35x50cm (13¾x19¾in).
Step four Place the Bondaweb onto the template
and draw around the elements, ensuring you
leave space between each element. Repeat to
create the Bondaweb pieces for the cushion back.
Cut out the Bondaweb outside of each drawn line.
Step five Press Bondaweb onto the wrong side
(WS) of the Fabric B cloud fabric.
Step six From the interfaced fabric B: cut out all
four clouds.
Step seven From Fabrics C-E cut out two sets of
the rainbow sections in the same way as for the
clouds. Cut a little over the inside drawn lines for
the two outer rainbow elements – this is so that
the middle rainbow ring sits on top and there is no
backing fabric showing. Cut any excess over the
short edges of all the rings so that they sit
underneath the clouds.
ASSEMBLING THE APPLIQUÉ PIECES
Step one Place the background front fabric piece
right side (RS) up on top of the template. Draw
around the template with an erasable fabric pen.
Repeat for the background back fabric piece.
Step two Peel off the paper backings then press
the shapes onto the background front, starting
with the rainbow outers, followed by the rainbow
middle ring, and then finally the clouds on top. 01
Step three Topstitch around each of the rainbow/
cloud elements. 02
Step four Repeat for the background back piece.
Step five Pin the cushion front and back together,
making sure the outer edges line up. Sew together
2cm (¾in) outside of the drawn outline, leaving
a turning gap along one cloud bottom edge.
FINISHING OFF
Step one Cut any excess fabric and clip into the
curves and corners. 03
Step two Turn the cushion RS, stuff firmly and
close the turning gap with ladder stitch. 04
TIP: h appliquéd
l i s e w it
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WWW.SIMPLYSEWINGMAG.COM 29

01
03
Cloud Bunting
YOU WILL NEED
Q Fabrics: 28x15cm (11x6in), for each
cloud
Q Wadding: 13x15cm (5x6in), for each
cloud
Q Cotton tape: 1cm (3⁄8in) wide x 2m
(2yds), for hanging
Q Erasable fabric pen
Q Matching thread
Q Basic sewing kit
FABRICS USED
The fabrics used are from the Counting
Sheep collection by Makower for
stockists visit www.makoweruk.com
NOTES
Q The template does not include a seam
allowance as the outer edge of the
template is the stitching line.
Q Download the templates from www.
simplysewingmag.com/downloads
30 WWW.SIMPLYSEWINGMAG.COM
children's room
02
04
CUTTING OUT
Step one Download, print and cut out the
template for the cloud.
bunting – ours are spaced 6cm (23⁄8in) apart from
the widest point of the clouds.
Step two Sew the clouds onto your bunting string,
Step two From each of the six fabrics, cut two either by hand or by machine. If by machine, sew
rectangles 13x15cm (5x6in). them on along the already sewn topstitching. 04
Step three If your chosen bunting string is made
MAKING UP THE CLOUDS from a material that will fray or unravel you can
Step one Trace the template onto the wrong side turn the ends over by 1cm (3⁄8in) and then again by
(WS) of one of the cloud fabric pieces and mark 1cm (3⁄8in) to finish the raw edges if necessary.
a turning gap of approx 5cm (2in) at any point.
Step two Lay the wadding down and place the
corresponding unmarked fabric piece right sides
(RS) up on top. Lay the fabric piece with the
marked template RS down on top to create
a fabric sandwich. Pin in place. 01
Step three Sew all the way around the cloud along
the marked template line, sewing from turning
gap to turning gap and backstitching at the start
and end of your stitching. Trim off any excess
fabric and wadding. 02
Step four Turn RS out through the turning gap.
Turn the turning gap edges inside and press.
Step five Topstitch all the way around the cloud to
close the turning gap. 03
Step six Repeat these steps to make up each of the
These clouds would
bunting clouds. make a sweet mobile,
too! Just use dowel or
MAKING UP THE BUNTING STRING an embroidery hoop
to create a frame.
Step one Spread your clouds evenly across your
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32 WWW.SIMPLYSEWINGMAG.COM
 CovEr

WHILE STOCKS LAST

the matilda DRESS

Get autumn-ready with The Matilda Dress, a new-
season essential in UK sizes 6-20, with a high collar
neckline, waist tie, and two length and sleeve options.

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 33

TH MATI DA DRESS
Some garments are destined for big occasions, COLLAR DETAIL
others for everyday wear, but we don't believe Finished with a
statement high
the latter has to be boring! Featuring a high collar neckline.
collar neckline and a waist-cinching tie with
two sleeve and length options, The Matilda
Dress is a crush-worthy, any-occasion kind of
frock that will take you effortlessly from day to
night, and season to season. It's designed for
drapey fabrics, so don't pack away your stash of
floaty prints just yet! This swishy style's blousey
sleeves, relaxed fit and gathered waist make it
perfect for rayons, crepes and cottons – and for
elegant layering on cooler autumn days.

YOU WILL NEED

Q Main fabric: 115cm (45in) wide x 3.6m (4yds), for
all sizes
Q Iron-on interfacing: 30x115cm (12x45in)
Q Zip: 20cm (8in)
Q Button: 10-12mm (3⁄8in-½in)
Q Narrow elastic: to fit each wrist (see instructions
TIE WAIST
for details)
Features a
Q Ribbon or elastic: 3mm (1⁄8in) wide x 5cm (2in) gathered tie waist
for a flattering
Q Matching thread
silhouette.
Q Basic sewing kit

FABRIC SUGGESTIONS
Lightweight cotton, cotton lawn, rayon, crepe
or linen.

GETTING STARTED
First, pre-wash and dry your chosen fabric to
allow for any shrinkage. Unfold the pattern and
find the line style for your size using the key
provided. Follow these lines to cut your pattern
pieces out – it can be helpful to mark the lines
using a highlighter. Read all of the instructions
before you start to ensure you do each step in
the correct order, get your sewing kit ready so
you have everything you need to hand, press TWO LENGTHS
your fabric for accurate cutting out – and you’re Make with a
knee or mid-
ready to get started on your Matilda Dress! length skirt.

Two chi
and dre c sleeve
ss len
chose f gths o
rom.

34 WWW.SIMPLYSEWING
 A muted yellow base gives this
ditsy print an autumnal feel,
wear it with
www.artgalleryfabrics.com

Khokhloma Gloom,
www.artgalleryfabrics.com
GoldeN houR
Mustard, metallics and must-
have denim for a chic autumn.
Ad a lng gold necklace
fr elegant drape and
subtle shine, £22 from
www.oliverbnas.com

Scallop Crepe Navy, www.

fabricgodmother.co.uk

Shore Remains Splendid, Finish the look with

www.artgalleryfabrics.com sculptural earrings
for a contemporary
vibe, £16, www.
FABRIC INSPIRATION oliverbonas.com

moDERN MATILDA
Give your stash a modern makeover Everyone needs a classic
denim jacket! This one has
with contemporary blooms, geometric embroidered florals on the
pattern repeats and abstract prints. back for an on-trend touch,
£45, www.simplybe.co.uk

Sculptor Rayon, Nod to the 1970s with a

www.cloud9fabrics.com smart crossbody satchel
in golden yellow, £30,
uk.accessorize.com

Whirl Rouge,
www.artgalleryfabrics.com

Stride into autumn

in comfy flat ankle
bots, £39 from
www.mandco.com
Coder Rayon, We're big fans of this dreamy fan-motif
www.cloud9fabrics.com viscose from www.fabricgodmother.co.uk

Subscribe at www.simplysewingmag.com
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 FRESH IDEAS WITH FABRIC

workshop
RIBBON FLOWERS
Boost your skills with a different
sewing technique in every issue.
 FRESH IDEAS WITH FABRIC

workshop
RIBBON FLOWERS LEARN THE TECHNIQUE
With so many gorgeous ribbons and trimmings 01 02
in delicious colours and finishes, we really are
spoilt for choice when it comes to stitching with
ribbon! This means narrowing it down can be
tricky – and, if you’re anything like us, you can
end up spending a fortune on metres of ribbon,
which you really didn’t need! Having a clear idea
of the ribbon type, width and colour is a good
starting point, as well as considering the type of
fabric you’ll be stitching it onto, too.

TYPES OF RIBBONS
Grosgrain: This ribbon has a firm feel and is
woven with a defined ridged texture, it
commonly has a matt finish.
Satin: a shiny and smooth ribbon. It’s available 03 04
in a wide range of colours and widths
Picot edge: a decoratively edged ribbon,
created with a series of small loops running
either side of the ribbon length.
Printed: Ribbon with printed words, phrases
and patterns, printed across the ribbon surface
in a variety of colours, finishes and widths.
Organdy: a delicate, transparent, lightweight
ribbon with an iridescent finish. It is often
constructed of silk, cotton or rayon.

TIPS FOR RIBBON WORK

Choose the right needle – a chenille needle with
a large eye is perfect. The ribbon will naturally
crease and fold in the needle, therefore it will be
necessary to unfold the ribbon in the needle keeping hold of the ribbon loop on the fabric’s Take this stitch over the loop and pass the
every so often. Smooth each ribbon length as surface. Bring the needle up inside the loop needle through the fabric to secure. Try to keep
you stitch – a cool iron will help, or smoothing about 2cm (¾in) from the starting point. Keep the top of the loop curved, and untwist the
between your fingers works too. This will help the curve of the loop smooth and flat. 02 ribbon if necessary. 03
to reduce the amount of twisting and creasing. Step three To secure the loop, make a small Step four Work a series of petals in the same
Unpicking ribbon work petals is very difficult, straight holding stitch at the top of the loop. way, keeping the petals close to each other. 04
as the ribbon may be split and damaged, so
make sure you’re happy with the positioning Try mixing hand embroidery
before completing each stitch. If you struggle to and ribbon work to create
pull the needle through the fabric – especially your own floral designs.
when finishing off the last few French knots
– use a small pair of pliers as these will make
gripping the needle a lot simpler. To finish the
ribbon on the back of your fabric, simply weave
it through the ribbon at the base of the petals
where it is firmer and less likely to work loose.

HOW TO STITCH RIBBON PETALS

Step one With the ribbon knotted at one end
and threaded flat against the eye of the needle,
pass the needle through the fabric at the flower
centre. Create a ribbon loop on the fabric's
surface and keep hold of it with one hand. Take
the needle down through the fabric, next to
your starting point. 01
Step two Pull the ribbon through the fabric,

38 WWW.SIMPLYSEWINGMAG.COM

embroider a skirt
01
04
YOU WILL NEED
Q Cotton skirt in your size
Q Ribbon: 4mm x 15m (6½yds)
Q Small embroidery hoop
Q Size 26 chenille needle, or 7 or 9
embroidery/crewel needle
Q Green stranded cotton for the stem
and leaves
NOTES
Q For embroidery and chenille
needles, the smaller the number
the larger the needle.
Q Check the ribbon sits flat within
the eye and that it can move freely.
MATERIALS USED
We used 4mm silk ribbon in Mandarin
and Sunshine, available to buy from
www.craftyribbons.com
Subscribe at www.simplysewingmag.com
02
05
STARTING OFF
Step one With the chenille needle threaded with
a length of ribbon and the opposite end of the
ribbon knotted, bring the needle up at the
starting point at the flower centre. Place the
ribbon flat against the fabric and, using the
needle, split the ribbon about 2-3cm from the
ribbon start, by passing it through the ribbon
and fabric to the reverse. 01
Step two As the needle is taken through to the
reverse of the fabric a ribbon loop will be
created on the front. It will be looping back on
itself, and as you pull the ribbon through
completely, a small, neat fold will be formed at
the ribbon tip. 02
Step three Work the next petal in the same way.
Remember to leave space in the flower centre of
0.5-1cm (¼-3⁄8in) for the French knots. Try to
keep each petal length and the spacing
between each petal the same. 03
ADDING THE FRENCH KNOTS
Step one When all petals have been worked, add
French knots to the centre. Thread the needle
with a length of the yellow ribbon and knot the
opposite end. Bring the needle up in the centre
FRESH IDEAS WITH FABRIC
workshop
RIBBON FLOWERS
03
06
of the flower and then wrap the ribbon once
around the needle, keeping the ribbon taut
against the needle. 04
Step two Take the tip of the needle partially
back through the fabric close to the starting
point. Slide the wrapped ribbon down the
needle to sit on the fabric’s surface. Keep the
wrapped thread taut against the needle, as this
helps to control the ribbon and prevent it from
unwrapping. Take the needle through the fabric
completely, pulling the ribbon through to finish
the French knot. 05
Step three Fill the flower centre with French
knots. If you are struggling to pull the needle
through the fabric, using a small pair of pliers
will help.
FINISHING OFF
Step one To finish the flowers, use two strands
of green stranded cotton to create the
backstitch stem and leaf details.
Step two Vary the direction of the stems to add
to the look of movement to the flowers. 06
WWW.SIMPLYSEWINGMAG.COM 39
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 UpcYcle
QUICK
PROJECT

on the
mend
Make a feature out of worn
knees and dropped hems
with Karen Lewis’ visible
mending techniques.
 TRANSFORM IT!
YOU WILL NEED 01 02
To mend the holes
Q Cotton fabric, see instructions for
details
Q Strong card
Q Embroidery thread

To mend the hem

Q Cotton fabric, see instructions for
details
Q Matching thread
Q Basic sewing kit

NOTE
Q Download the template at www.
simplysewingmag.com/downloads
03 04

CUTTING OUT
FOR THE KNEE PATCH
Step one From the cotton fabric cut:
A rectangle of fabric, cut on the bias to allow
stretch and ease of movement. This needs to be
the width of your jeans leg, from seam to seam,
and at least 5cm (2in) larger than the height of the
hole you are patching up.
Step two From the strong card cut:
Cut the card the width of the jeans leg and at least
10cm (4in) larger than the height of the hole.

FOR THE HEM

Step one From the cotton fabric cut:
One piece measuring 7.5cm (3in) x circumference
of the leg hem, plus 4cm (15⁄8in).
SEWING THE KNEE PATCH
Step one Position the card inside the jeans leg,
behind the hole. This helps to separate the front
and back of the leg, making it easier to pin the
patch in place.
Step two Feed the patch through the hole and
smooth it out underneath. Pin in place around the
hole and the edges of the patch itself. 01
Step three With a fabric pencil, draw lines approx
0.5cm (¼in) apart across the area you are sewing,
from side seam to side seam of the jeans.
Step four Starting in the centre of the patch, sew a
row of running stitches from one side to the other.
Step five Sew each new row on the opposite side
of the previous row, smoothing out the fabric
patch as you go. Finish off each thread with a knot
on the inside of the jeans. 02
Step six Continue until you have sewn across the
whole hole, then keep sewing rows above and
below to secure the patch in place.
Step seven You can highlight the hole by sewing
a couple of rows around the edge of it, following
its shape. This has the added benefit of further
securing the patch.
DARNING THE HOLE
Step one With the card inside the leg for
stabilising, stitch horizontal lines close together
across the rip, starting 1.5cm (½in) away from the
rip and moving from top to bottom. Secure the
thread with a knot inside the leg at the end. 03
Step two For the vertical lines, keep the
embroidery thread the same colour for a solid
look, or change it to add interest. Starting from the
left or right edge, weave the thread in and out of
the horizontal lines. When you have completed
the first vertical row, sew a small stitch approx
5mm (¼in) away to secure the darning, then
gently push each new row close to the previous
one to create a dense weave. 04
Step three Keep going until you have darned
across the whole area, remembering to make
a small stitch 5mm (¼in) away at the end of every
vertical row.
ADDING THE SASHIKO
Step one We have stitched sashiko shapes around
the darn for decoration. To do this, download the
template and transfer the design onto the right
side (RS) using an erasable fabric marker. The
template is rotated at a 90-degree angle to
achieve the finished sashiko shape.
Step two Starting with the top horizontal line,
stitch horizontally across this through the fabric
and then continue onto the next row.
Step three When you have finished all of the
horizontal stitches, tie the thread at the back.
Step four Working from one side to the other,
stitch the vertical lines to complete the sashiko
pattern. The pattern will be revealed as you go.
BINDING THE HEM
Step one Press the binding fabric strip, wrong
sides (WS) together, in half lengthways.
Step two Leaving an excess of approx 5cm (2in) at
the start and end, pin one of the long raw edges of
the binding to the hem with the RS together,
aligning the edges, and sew using a 1.5cm (5⁄8in)
seam allowance.
Step three Pin and sew the two unsewn ends of
the binding together. Press the seam open and
trim, then sew this unsewn section to the jeans
hem, overlapping your previous stitching.
Step four Press the binding over to the WS of the
jeans. Press the raw edge of the binding under by
1.5cm (5⁄8in) and topstitch or slip stitch this folded
edge into place all the way around to finish.
This jeans patching and
mending project is one of
20 simple home makes in
Wabi-Sabi Sewing by Karen
Lewis, published by Sew
and So, £15.99. See more at
www.sewandso.co.uk

42 WWW.SIMPLYSEWINGMAG.COM
 no PatTern
NeeDeD!


cut loose
Measure, cut and stitch! Portia
Lawrie’s drapey kimono jacket is
made from simple rectangles for
a speedy, stylish, satisfying sew.
kimono jack t
01 02 03

07 08 09

YOU WILL NEED
Q 2.5m (2¾yds) of medium-weight
fabric
Q Measuring tape
Q Erasable fabric marker
Q Matching thread
Q Basic sewing kit
FABRIC USED
Printed textured cotton fabric by
Seasalt Cornwall. Available to buy
from www.seasaltcornwall.co.uk
NOTE
Q The seam allowance is 1cm (3⁄8in)
unless otherwise stated.
CUTTING THE FRONT BAND
Step one Fold the fabric in half, raw edge to raw
edge and with selvedges aligned down the sides.
From the folded top edge cut a strip 12cm (4¾in)
wide from the entire length of the fabric. Note that
the length of this strip will dictate the maximum
length of your kimono as this is the piece that will
wrap around your neck and extend along the
opening to the hem. 01
Step two If you are using a directional print, note
that cutting it in one piece will result in the print
running in the right direction on one side, but
upside down on the other. To correct the direction
of the print, cut the band in half. Flip one side in
the opposite direction and sew the band back
together, creating a centre-back seam. 02
CUTTING THE FRONT AND BACK
Step one Cut out two rectangles. The width is half
your bust measurement + 15cm (6in) design ease
+ 2cm (¾in) seam allowance. The length is the
measurement from the neck/shoulder point to
the knee plus 3cm (1¼in) hem allowance. Lay one
on top of the other, right sides (RS) together. 03
Step two On the top rectangle cut away a strip
8cm (31⁄8in) wide straight down the centre.
Step three Measure 5cm (2in) down the outer
edges from the top left and top right corners.
Then join that point to the outer edge of the
opening to get the cutting line. Cut away these
shoulder ‘slants’ through both layers. 04
Step four Sew or overlock along the shoulder lines
with a 0.5cm (¼in) seam allowance then press.
Finish the seam allowance with a zigzag or
overlock stitch if using a standard machine.
CUTTING THE SLEEVES
Step one Cut two rectangles for the sleeves of
60x45cm (235⁄8x18in). Mark the centre point on the
60cm (235⁄8in) long edge. With RS together, align
this centre point on top of the shoulder seam.
Step two Sew or overlock the sleeves to the main
body of the kimono with a 0.5cm (¼in) seam
allowance, then press. Finish the seam allowance
with a zigzag stitch or overlocker. Press sleeves
away from main body as pictured. 05
Step three With RS together, sew the sleeve and
side seams in one go with a 1cm (3⁄8in) seam
allowance, pivoting at the underarm point. Press
and then finish the seam allowance with a zigzag
stitch or overlocker. 06
ATTACHING THE NECK BAND
Step one Mark where the nape of your neck is
using an erasable fabric marker and draw a line to
gradually blend this with the open edge of your
kimono, then cut along your marked line. To do
this evenly, align and pin the raw edges of the
neckline and opening and align the shoulder
seams. Cut in one smooth pass along your line. 07
Step two Finish the raw edge of the bottom edge
of the kimono and then press 0.5cm (¼in) to the

44 WWW.SIMPLYSEWINGMAG.COM
 kimono jack t
04 05 06

10 11 12

wrong side (WS). Sew along the edge to secure. 08

Step three Cut the kimono band so that it is 7cm
(2¾in) shorter than the entire length of the
kimono front opening from one side to the other.
Sew the short ends of the kimono band with
a 1cm (3⁄8in) seam allowance. Trim the seam
allowance and clip the corners, then turn RS out
and press. Pin the kimono band to the opening
with RS facing and raw edges aligned. The end of
the band should sit 2.5cm (1in) above the folded
edge of the hem on both sides. 09

FINISHING THE KIMONO

Step one Turn the hem to the WS, encasing the
end of the kimono band as pictured. Then sew all
around the kimono opening. Finish the seam
allowance with a zigzag or overlocker, then press
the stitching line all the way around. 10
Step two Flip the end of the kimono band
through to the outside and it will automatically
turn the hem back under to the WS. Press the
seam allowance of the kimono band towards the
body of the garment. 11
Step three Press and pin a 2.5cm (1in) hem all the
way around the bottom edge.
Step four Sew the hemline and topstitch the seam
allowance of the kimono band in a continuous line Make the neckline band in
of stitching. Sew the hem, then when you reach contrast fabric, add sleeve
cuffs, alter the length, add
the end pivot the fabric and sew around the pockets – this simple style
kimono opening until you meet the beginning of is just the starting point!
the hem stitching line again. 12

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 45

 BUILT TO LAST
Patrick Grant’s co-operative, Community Clothing, has a simple mission: to create
exceptional quality clothes, produced in the UK’s best factories, which are afordable
to all. Two years on, he shares his vision for a more sustainable fashion future.
Written by Sarah Gane.

steemed designer and Great British
E Sewing Bee judge Patrick Grant is
known for his impeccable style and
attention to detail. He’s also a grafter.
This is a man often seen putting in 70
hours or more each week into what he
loves, including working as the creative
director of Savile Row tailor Norton & Sons
and ready-to-wear brand E. Tautz & Sons.
Passionate about sustainable business
practices and British textiles, Patrick has also
found the time to embark on another fashion
venture: an affordable clothing brand that
reflects his values and aims to make positive
changes to the industry. Launched in 2016,
Community Clothing is a manufacturers’
co-operative that makes excellent-quality
garments at affordable prices. Everything is
produced by skilled workers in factories
across the UK, and the prices are genuinely
affordable too, starting at just £2.50 for a pair
of socks and £22 for a T-shirt.
He’s managed to achieve this by taking
a different approach to garment production
than the fast-fashion model. According to
Patrick, one of the biggest problems that the
British clothing manufacturing industry faces
is the seasonality of the demand. “For several
months of every year, even the very best
British factories are nowhere near full,” he
explains. “This can lead to seasonal hiring
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a good read
and firing or, worse still, to factory closures.”
Utilising these factories’ down time in the
production cycles means that workers are
kept on during what would normally be the
quiet periods of the year to produce quality
garments at reasonable price points. “Our
returns rate is astonishingly low and we get
an enormous amount of great feedback from
our customers,” he explains. “Most people
are amazed that clothes of such quality are
on sale at such affordable prices.”
JUST THE BEGINNING
What began with Patrick saving a well-loved,
Blackburn-based factory from closure, soon
led to the launch of
the Community
Clothing brand. "I’M THRILLED WITH OUR PROGRESS TO
Supported by
a Kickstarter
DATE.. WE’RE MAKING AND SELLING LOTS OF
campaign and with CLOTHES, WE’RE CREATING THOUSANDS OF
a goal of £75k’s
worth of pre-orders,
HOURS OF SKILLED WORK."
this initiative soon
gained over £88,000 of support in little over
a month – proof there was a large base of
people that cared how their clothes were
made and were eager to make a difference.
Since then, Grant’s plan of restoring pride
and jobs back to the British fashion industry
has created over 12,800 hours of skilled UK
manufacturing work, making a difference to
people’s livelihoods and local communities.
“That’s just a start,” he says reassuringly. “The
ambitious target is to create at least 5,000
full-time jobs. And I think we’ll do it.” He
continues: “I’m thrilled with our progress to
date… I couldn’t imagine it going any better.
We’re making and selling lots of clothes,
The Community Clothing
collection features classic,
well-made styles, from
raincoats to jumpers.
we’re creating thousands of hours of skilled
work, and the factories and our customers
are universally proud of what we’re doing.”
BUY LESS, CHOOSE WELL
The selection of clothing styles available is
intentionally limited to well-designed, core
wardrobe staples for men and women.
Classic items in the women’s range include
a Breton top, linen shirt dress, denim smock,
jeans and T-shirts. “Volume-wise, our socks
are by far our biggest seller – new colours,
and stripes, coming soon! Other big sellers
are our classic T-shirts – more of those soon
too! – Bretons, the women’s workwear pants,
and also the men’s
raincoat,” he tells us.
By creating classic,
non-seasonal designs
that are produced
during these down
times, essentially
‘filling the gaps’,
there’s a steadier
stream of production for the factories,
resulting in continual work for its employees.
As yet, it’s not something that other clothing
companies currently do. “It’s very difficult to
do if you’re working on the standard model
of seasonal collections. We need to get back
to more stable, core products, then more
retailers could do the same thing.”
The organisation also saves money by
having no advertising, limited retail space, no
free stuff for celebrities, and no sales at the
end of the season. “We want to create a cycle
of positive value for works and for customers
– making clothes we can all feel proud of,”
explains Patrick. “This means we don’t go on
Photos: www.communityclothing.co.uk
WWW.SIMPLYSEWINGMAG.COM 47

sale or slash our prices at the end of every
season, we don’t need to entice you with an
artificial bargain and we don’t have any dead
stock to shift.” Shoppers can purchase items
online or through the brand's eBay store. “We
have a wonderful little store in Blackburn,
but it’s an anomaly. We work closely with
Blackburn Council, who won the building,
and a wonderful back-to-work agency called
Bootstrap (www.bootstrap.org.uk), so the
costs of running it are tiny. Normal retail
doesn’t fit with our model.”
Nevertheless, despite the ‘wardrobe
staples’ approach, innovation is still an
important part of the organisation’s strategy.
“We’re working not only on refining a few of
the products we already offer, but adding
new styles. The idea is to cover all of the basic
items in both men’s and women’s wardrobes.
12 months from now there will be another
30-40 styles in the collection.”
Growing Community Clothing's range at
this slow and sustainable rate means the
focus is on wearable, classic items that its
wearers will treasure for a long time – and it
won’t stop at adults’ clothes, either. “Yes,
we’d like, once we’ve got all of that worked
out, to have a look at doing childrenswear,
48 WWW.SIMPLYSEWINGMAG.COM
a good read
Below: As its name
suggests, the people
who make its clothes
are at the heart of
the Community
Clothing brand. “The
idea is to use surplus
funds to support
initiatives creating
pathways to skilled
employment, and
inspire people to
consider careers in
clothing,” says
founder Patrick.
too. We think the same dearth of quality at
affordable price points exists there as well.”
CHANGING FASHION FOR GOOD
Community Clothing’s transparency when it
comes to production clearly demonstrates
that every person and business involved in
the chain is respected. Every factory in this
manufacturer’s co-operative receives a fair
"THE IDEA IS TO COVER THE BASIC ITEMS IN
BOTH MEN’S AND WOMEN’S WARDROBES.
12 MONTHS FROM NOW THERE WILL BE
ANOTHER 30-40 STYLES IN THE COLLECTION."
price for its goods and every worker is paid at
least the National Living Wage. Sadly, this
isn’t the norm in an industry where fashion
fads and low price-points prevail. According
to a white paper by organisation Fashion
Revolution (www.fashionrevolution.org)
published in 2015, just 4 of 40 leading
international clothing brands were able to
demonstrate the work they were doing
towards paying a living wage. With more
people than ever before wanting to know
#WhoMadeMyClothes, Fashion Revolution's
viral hashtag, it’s refreshing that Community
Clothing is choosing to do things differently.
But this worthy initiative goes beyond the
production methods to roll out real changes
in the areas surrounding the factories, too
– 75% of the company’s profits are put back
into projects within the communities.
“The idea is to use surplus funds to help
support initiatives creating pathways to
skilled employment,” Patrick tells us,
“because we have a great shortage of the
skills required for garment manufacture in
the UK.” Working partnerships have been
formed with Blackburn and Burnley Colleges,
as well as Dumfries House Future Textiles
programme. “We’re also working in schools,
universities and anywhere else we can,
including TED talks, to inspire young people
to consider careers in clothing and textiles.”
This focus on supporting the workers
behind the clothing is evident on Community
Clothing's website, which doesn't hide, omit
or gloss over its manufacturing processes;
instead, it showcases photographs of, and
interviews with, its skilled makers.
 a good read

"We want our customers to understand the
importance of these places and this work to
the communities in which they sit," explains
Patrick. "So, as we add more factories, we will
continue to try to make this connection,
either through photography, or in film.”
MADE TO LAST
As consumers, we increasingly want to know
where our food comes from, so there’s no
reason why the same shouldn’t be applied to
our clothes. Indeed, there’s something heart-
warming about knowing your jeans, T-shirt or
even socks have helped to restore a person’s
pride, sustaining them, a whole family, or
even contributing to a local community.
What’s more, there's another aspect to it that
we as makers know ourselves: loved clothes
last. We’re far more likely to repair something
like it did in the past. We’re not going to go
back to the millions of jobs we had, because
it will embrace the newest automation and
technology, but because of this it will be
economically viable, and sustainable in the
long term, creating local prosperity and
reducing the damage that the current
manufacturing systems do to the planet.”
Whether we like to admit it or not, fast
fashion has changed the way we dress and
shop – it’s almost become an addiction for
many people. But there is hope: weaning
ourselves off shopping in this way and
changing our habits now will help to develop
a sustainable fashion market that is built on
quality, craftsmanship and fair prices for each WORTH A WATCH
and every person in the production process. Patrick Grant’s TED talk, titled ‘Why we
And the great thing is that we can all play should all feel uncomfortable in our
a part in helping to make this new fashion clothes’ is a frank and informative look
Photos: www.communityclothing.co.uk

that we treasure and enjoy wearing rather
than fast-fashion, trend-led items. This means
fewer clothes going to landfill, helping the
environment in the process.
Patrick is optimistic, yet realistic, about the
ways that clothing production in the UK has
already changed, and could change in the
future. “I am enormously bullish about the
future of British manufacturing. It won’t look
framework a reality – and making conscious
clothing purchases is just the start. “We
desperately need to stop thinking of buying
clothes as a pastime. It’s causing so much
damage. We need to find new ways to make
ourselves feel great. Like sewing. We need to
get back in our craft dens and sheds and
workshops.” We couldn’t agree more.
Visit www.communityclothing.co.uk
at the fashion industry today. In it, he
reveals that the UK spent £56 billion
on clothing in the last year, but only 2%
of it was made in the UK. He also
discusses the ways in which we, as
consumers, can use our buying habits
to make positive changes. Watch the
talk at www.youtube.com/tedxtalks

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 From the makers of...

WATCH IT • LOVE IT • SEW IT

The UK’s only television channel dedicated to Sewing and Quilting.

Live on Freeview 73 and Sky 687 seven days a week.

www.SewingQuarter.com

You will receive 20% off on your first order with Sewing Quarter when you enter code SS20SEPT at checkout. This offer applies to new customers only and can be redeemed on both
web and auction products when you buy online at www.sewingquarter.com. This offer is valid from the 1st of September 2018 until the 31st October and can only be used once.
This offer excludes Sewing Machines, electricals and Westalee rulers. This offer cannot be used in conjunction with any other offer. For full T&C’s please visit our website at www.SewingQuarter.com.
 ready for
anything
Carry all you need for
busy weekends (and
even busier workdays)
in Lisa Lam's retro
bowling-style bag.
*Code valid at www.u-handbag.com until 31st October 2018. One use per customer only.

ReaDer OffEr!
get 10% off
at U-handbag.com
with discount code
Ssba2*
TH BOW ING BAG
01
07
YOU WILL NEED
Q Outer fabric: 115x125cm (45x49in)
Q Lining fabric: 115x100cm (45x40in)
Q Iron-on woven interfacing:
100x90cm (40x35in)
Q Iron-on fleece: 100x115cm (40x45in)
Q Firm fusible interfacing: 50x99cm
(19¾x1yd)
Q Zip: 61cm (24in), for the bag closure
Q Zip: 30cm (12in), for the pocket
Q 2 D-rings: 38mm (1½in)
Q 2 trigger hooks: 38mm (1½in)
Q Rectangle slider: 25mm (1in)
Q Webbing: 38mm (1½in) x 3m
(3.5yds)
Q Piping: 5mm (¼in) wide x 3.6m
(4yds)
Q Sewing clips
Q Piping or zip machine foot
Q Matching thread
Q Basic sewing kit
FINISHED SIZE
Q 43cm (W) x 33cm (H) x 15cm (D)
(17x13x6in).
NOTES
Q The seam allowance is 1cm (3⁄8in)
unless otherwise stated.
Q All interfacing and hardware used is
from www.u-handbag.com
52 WWW.SIMPLYSEWINGMAG.COM
02
08
CUTTING OUT
Step one Print and cut out the templates.
Step two From the main fabric cut:
Outer pocket: cut two using the template.
Front/back body: cut two using the template.
Top panel: 68x15cm (26x57⁄8in).
Base: 70x15cm (27¾x57⁄8in).
Pocket trim piping: cut two strips measuring
36x3.5cm (141⁄8x13⁄8in).
Bag front and back piping: cut enough 3.5cm
(13⁄8in) wide bias strips to create a 145cm (57in)
long strip.
Step three From the lining fabric cut:
Outer pocket: cut two using the template.
Front/back body: cut two using the template.
Top panel: 68x15cm (26x57⁄8in).
Inner pocket: cut two 28x24cm (11x97⁄16in).
Base: 70x15cm (275⁄8x57⁄8in).
Step four From the iron-on woven interfacing
cut as follows:
Outer pocket interfacing: cut two.
Top panel: 65x12cm (255⁄8x4¾in)
Step five From the iron-on fleece cut:
Outer pocket interfacing: cut two using the
template
Front/back body interfacing: cut two using the
template.
Top panel: 65x12cm (255⁄8x4¾in).
Base: 67x12cm (263⁄8x4¾in).
Step six From the firm fusible interfacing cut:
Front/back body interfacing: cut two using
03
09
the template.
Base: 67x12cm (263⁄8x4¾in).
INTERFACING THE PIECES
Step one Following manufacturer's instructions,
centrally press the medium-weight interfacing
onto the wrong side (WS) of the main fabric
outer pocket pieces and top panel.
Step two Centrally press the iron-on fleece onto
the WS of the outer pocket lining, front/back
body lining, base lining and top panel lining
pieces.
Step three Press the iron-on firm interfacing
centrally onto the WS of the main fabric front/
back body and base outer pieces.
MAKING THE HANDLES
Step one Cut two 56cm (221⁄8in) pieces of
webbing for the handles.
Step two Fold one of the handles in half by
bringing the long edges together and stitch
a 13x1cm (5¼x3⁄8in) box in the handle centre.
Stitch over the box twice for strength. This
stitching reinforces the handles and makes
them more comfortable to use.
Step three Repeat for the other bag handle.
MAKING THE STRAP
Step one Cut two 7.5cm (3in) lengths of
webbing for the shoulder strap tabs. Thread
a D-ring onto one of the webbing pieces, fold
 04
10
the webbing in half over the ring and stitch the
ends together 5mm (¼in) from the edge to
secure. Repeat with the other D-ring and
webbing piece.
Step two Cut a 150cm (59in) length of webbing
for the adjustable shoulder strap. Thread one
end of the strap under the first bar of the slider,
over the central bar and back under the last bar,
so that 7cm (2¾in) of the webbing extends from
the slider.
Step three To hold the slider in place, first fold
the end of the webbing you just threaded
through the slider over to the WS by 2cm (¾in).
Secure this folded edge to the webbing strap
on the other side of the slider to create a loop
around the centre bar with two lines of stitching
1cm (3⁄8in) apart, stitching over the lines a few
times for added strength.
Step four Thread one of the trigger hooks onto
the other unsewn end of the strap, and then
thread this end of the strap through the slider,
then finally thread it through the other trigger
hook and stitch this into place as for the slider,
ensuring the strap is not twisted as you go. 01
MAKING THE PIPING TRIM
Step one Join the bias strips to make a strip
145cm (57in) long. 02
Step two Cut two 31cm (12¼in) lengths of
piping cord. Find and mark the center of both
pieces. Take one of the pocket trim bias strips
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05
11
and fold in half by bringing the long edges WS
together. Press the fold and open out. Fold in
half again by bringing the short edges WS
together and marking the center of the long
edge onto the WS.
Step three Matching the centre points, lay the
cord along the centre of the WS of the bias strip.
To reduce bulk at the piping ends, the cord is
slightly shorter than the bias strip. 03
Step four Fold the bias strip in half over the cord
and stitch the long edges together 0.5cm (¼in)
from the edge.
Step five Cut two 146cm (57½in) pieces of cord
for the bag front and back trim and use the
remaining bias strips to make the piping for the
bag front and back.
MAKING THE OUTER POCKETS
Step one Mark the centre point of one of the
pocket trim piping pieces. Repeat with the
curved top edge of one of the interfaced pocket
outer pieces.
Step two Match the centre points of both pieces
then use sewing clips to attach the piping to the
curved edge of the right side (RS) of one of the
outer pocket pieces. You may notice the piping
trim is slightly too long for the curved edge –
this is deliberate to allow for ease. 04
Step three Using a zip or piping foot, stitch the
piping in place 5mm (¼in) from the edge and
trim off any excess.
06
12
Step four Pin or clip the pocket lining and outer
pieces RS together, matching the curved edges.
Step five With the lining side facing up, trace
your fingers over the piping so you can see and
feel the piping underneath. Using a zip or
piping foot, stitch the pocket pieces together
along the curve with a 1cm (3⁄8in) seam
allowance. Stitch as close to the piping as
possible without stitching onto the piping.
Step six Turn the pocket RS out and press the
curved top edge underneath the piping.
Step seven Repeat to make the other pocket.
ATTACHING THE HANDLES
Step one On both of the outer pockets, mark
2cm (¾in) in from both ends of the curved
piped edge.
Step two Take one of the outer pockets and
handles. Line up the ends of the handle with the
pocket curved edge, with the outer side edges
of the handle aligned with the 2cm (¾in)
markings on the outer pocket from the previous
step. Pin the handle ends in place just to hold.
Step three With the handle in position, turn the
pocket over to the lining side. Using an erasable
fabric marker, mark the handle outer and inner
edges on the piping at both ends of the handle.
Unpin the handle and use a seam ripper to
unpick the curved seam between the markings.
Slide the handle ends in between the pocket
lining and outer through the holes you have just
WWW.SIMPLYSEWINGMAG.COM 53
TH BOW ING BAG
made and pin the handle into place.
Step four Ensure the lining raw edges are neatly
tucked to the inside at both of the handle ends
and then topstitch all the way along the RS of
the pocket curved edge below the piping, 3mm
(1⁄8in) from the curved edge. You may wish to
use different bobbin thread to match the lining.
Step five Lift up the pocket outer layer. Using
matching thread, stitch the handle ends to the
lining fabric only, sewing twice for strength. 05
Step six Repeat for the other pocket and handle.
MAKING THE TOP PANEL
Step one Draw a 24x1.5cm (9½x5⁄8in) rectangle
in the centre of the WS of the top panel lining.
Draw a line along the centre of the rectangle,
and then draw a small triangle at both ends of
the rectangle, with the points of each triangle
meeting this central drawn line.
Step two Place the top panel and top panel
lining pieces RS together. Match all the raw
edges and pin. 06
Step three Stitch around the rectangle.
Step four Cut along the central drawn line inside
the rectangle and into the diagonal lines at the
rectangle ends.
Step five To reduce bulk, trim the lining fabric,
cutting close to the seam.
Step six ‘Post’ the lining fabric through the hole
and press so that the edges are crisp.
Step seven At the end of the zip where the tape
splits open, hand-stitch the tape ends together.
Step eight Apply double-sided tape to the long
edges of the zip tape then remove the backings.
Step nine Take the top panel with the RS facing
up and position the hole over the zip. 07
Step ten Ensure that the teeth of the zip are
positioned centrally within the zip hole and
press. Topstitch all the way around the zip hole,
3mm (1⁄8in) from the edge, to hold in place.
the main fabric top panel (with the zip) and pin
or clip the lining top panel and base lining RS
together along this short edge. 09
Step two Sew together, but without stitching
though the outer layer, and then press the seam
open. Repeat with the other side.
MAKING THE BAG LINING
Step one Open the top panel zip. Place the bag
lining piece with the lining pocket attached RS
together with one side of the base. Match the
centre points and align the edges of the pieces
and pin together. 10
Step two Stitch together then press the seams
open. Repeat with the other side and bag lining
piece, this time leaving a 32cm (125⁄8in) turning
gap in the bottom edge.
MAKING THE OUTER BAG
Step one Take one of the bag outer pieces and
pin a body piping piece all around the edge RS
together. As you pin the piping to the top edge,
fold the handbag handles down out of the way.
At the bottom edge, cross the piping ends over
each other with the ends pointing downwards.
Step two Begin stitching the piping to the outer
piece at the cross-over point. Lifting the
uppermost piping end out of the way and
keeping the lowermost piping end pointing
downwards, begin stitching at the lowermost
piping end. Stitch the piping all the way around
until you reach the piping cross at the
beginning of your stitching. Keep the
uppermost piping end pointing downwards
and stitch over the piping cross. 11
Step three Trim the excess piping at the cross.
Repeat with the other bag outer and piping.
Step four Keep the lining out of the way and
place one of the webbing shoulder strap tabs
with a D-ring attached onto the RS centre of
one of the outer top panel short edges. 12
Step five Sew the tab in place 5mm (¼in) from
the edge. Don't stitch through the outer layer.
Repeat with the other handle tab and top panel.
Step six Make up the outer base the same way
as the lining base. Avoid stitching through the
lining. Topstitch the base top edge seam on the
base RS.
Step seven Move the lining bag out of the way
then pin and stitch one of the outer bag pieces
to the outer base in the same way as the lining
pieces have been assembled except don't leave
a gap in the bottom edge. Use a zip or piping
foot to stitch as close as you can to the piping.
FINISHING THE BAG
Step one To prevent the lining from collapsing
into the bag when opened, stitch the lining top
edge seam to the outer bag top edge seam. To
do this, bring the lining and outer top panel
seams together and pin. Stitch the lining and
outer seams together 5mm (¼in) from the edge.
Stitch from one base top edge seam to the
other. Repeat on the other side.
Step two Turn the bag RS out though the
turning gap in the lining. Using a pressing cloth,
press any areas where the interfacing has come
away during turning.
Step three Bring the lining gap seams together,
pin and stitch 3mm (1⁄8in) from the edge.
Step four To finish, clip the shoulder strap
trigger hooks onto the D-rings on each side of
the bag and then adjust the length of the
shoulder strap to suit, using the slider.

MAKING THE INNER POCKET

Step one Take one of the inner pocket pieces.
On the WS, draw a 22x1.5cm (8¾x5⁄8in) rectangle
in the centre in the same way as before, 4cm
(15⁄8in) down from the top edge.
Step two Place this inner pocket piece onto one
of the front/back body lining pieces with RS
facing. Position the pocket piece centrally on
the body lining, 6cm (23⁄8in) down from the top
edge. Pin the pocket piece in place.
Step three Stitch the zip hole and attach the zip
as for the top panel, but without stitching the
zip tape ends together as before. Trim the
excess zip ends so they do not extend past the
pocket fabric. 08
Step four Pin the other inner pocket piece to the
attached pocket piece with RS facing.
Step five Stitch together all the way around the
inner pocket pieces only. Do not stitch through
the bag lining.

MAKING THE BASE

Step one Peel back one of the short edges of

54 WWW.SIMPLYSEWINGMAG.COM
Sew a new weekend staple with
the The Alexa Dress in UK sizes
6-20, a super-comfy jersey style
with a feminine rule skirt detail.

WHILE ST T

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 55

TH A XA DR SS
Whatever the season, whatever the weather, EASY WEAR
you're most likely to find us wearing jersey. It's Includes a scoop
neckline for
safe to say that this versatile fabric fills most of stylish layering.
our wardrobe (and our fabric stash!), and now
we've got a new style to add to the collection
with this issue's Alexa Dress. And we definitely
won't be making just one version of this staple
dress – with its irresistible ruffle skirt detail and
so many options for layering with our fave tees
and knits, we'll be stitching an Alexa in every
hue! This is a great skills-booster for those new
to sewing with stretch (and a speedy make for
more confident stitchers), with instructions for
stabilising the seams and adding neckline and
armhole bands for a professional finish.

YOU WILL NEED

Q Main fabric: 115cm (45in) wide x 3.1m (3½yds),
for all sizes
Q Clear elastic or cotton tape: 0.5cm (¼in) wide x
7m (7.5yds)
Q Jersey sewing machine needle COMFY FIT
Q Dental floss (for gathering, see instructions for Has a loose, shift-
inspired shape
details) for easy fitting.
Q Matching thread
Q Basic sewing kit

FABRIC SUGGESTIONS
Medium-weight cotton jersey.

GETTING STARTED
First, pre-wash and dry your chosen fabric to
allow for any shrinkage. Unfold the pattern and
find the line style for your size using the key
provided. Follow these lines to cut your pattern
pieces out – it can be helpful to mark the lines
using a highlighter. Read all of the instructions
before you start to ensure you do each step in
the correct order, get your sewing kit ready so
you have everything you need to hand, press RUFFLE SKIRT
your fabric for accurate cutting out – and you’re Features a drop-
waist skirt with
ready to get started on your Alexa Dress! a ruffle detail.


BonUs PatTern!
Download add-on pieces to
make The Alexa Top at
www.simplysewingmag.com
/downloads
 This soft viscose-mix blend will be
a dream to sew with – and to wear!
wear it with
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Mod Diamonds,
www.girlcharlee.co.uk
thaT 70S looK
Try the 70s trend with beads,
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Ad statement earrings
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This season's
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Go understated
Roma Jersey Rust, www. with a single stone
fabricgodmother.co.uk pendant, £26, www.
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FABRIC INSPIRATION

a soft touch
From drapey lightweight jersey to cosy
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stretch fabrics in new-season hues. and a pom pom
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Retro basket bags

may not be practical
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Specks of Carambola, they're oh-so-chic for
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Birdstencil AM,
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Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 57

 THIS MONTH
IN

42 PATTERNS IN 6 SIZES...
SPORTY-CHIC LOOKS FOR 2 SEWING LESSONS ROMANTIC PIECES WITH
THE LAST DAYS OF SUMMER EXPLAINED STEP BY STEP NOSTALGIC FLORAL PRINTS

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september 2018 42 PATTERNS
and variations
worth £ 167 *
*based on a digital pattern worth £ 3,99.

FO R O
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THE FASHION MAGAZINE TO SEW YOUR OWN ST

 o_
N 17
PekIng Knot

STITCH
libr ary
Treat your feet to socks adorned with
a dainty loral motif, stitched in Peking
knots. Mollie Johanson shows you how.
cut out & Keep
p king knot
01 02 03

LEARN THE STITCH

04 05 06

USE THE STITCH

YOU WILL NEED WORKING A PEKING KNOT

Q 1 pair of socks
Q Stranded cotton: coral, warm pink,
yellow and dark green
Q Scrap of cotton fabric: 2.5x7.5cm
(1x3in)
Q Iron-on double-sided fusible
interfacing
Q Basic sewing kit
NOTES
Q If your socks fold over like ours, be
sure to stitch the design in the
correct direction for when the cuff
is folded.
Q Depending on the stretch of your
sock material, it may be best to
stitch the flowers individually to
prevent the threads breaking.
Step one Come up from the back of the fabric. This
will be the bottom of the stitch. Make a loop with
the working thread with the loose end under the
thread that’s attached to the fabric. 01
Step two Insert the needle just above the point
where the thread exits the fabric, but don’t pull it
through yet. Slowly pull the working thread until
the loop is the size you want the stitch to be. 02
Step three Hold the loop in place with your finger
as you pull the needle and working thread
through. Be careful not to pull the thread too
tight, especially when securing the end, otherwise
the Peking knot will tighten on the surface. 03
EMBROIDERING A PAIR OF SOCKS
Step one Cut a 2x6.5cm (¾x25⁄8in) rectangle of
cotton fabric and press paper-backed fusible
interfacing onto the back. Remove the paper
backing and fuse it to the inside of the sock near
the cuff. This will prevent the embroidered area
from stretching and distorting the stitches. 04
Step two Working through the sock and the fused
fabric, embroider a staggered row of Peking knots
in varying sizes. Use six strands in coral, warm
pink, and yellow embroidery thread. Use the
pattern as a guide or stitch the Peking knot
flowers freehand. 05
Step three To finish, embroider tiny stems and
leaves under the flowers with straight stitch. Use
three strands in dark green embroidery thread. 06

60 WWW.SIMPLYSEWINGMAG.COM
cosy corner
Add colour and pattern to your favourite
chair with Nancy Nicholson's guide to
trimming a plain throw with embroidery.
 mbroid r d throw
01
04
YOU WILL NEED
Q Blanket
Q Knitting or tapestry wool (yarn) in
a choice of colours
NOTES
Q When choosing your blanket, look
for throws that have a distinctive
weave as this will naturally suggest
many more design possibilities – for
example, a strong chevron weave or
a tartan blanket will allow you to
follow the existing lines.
Q If the weave of your chosen blanket
is particularly fine, you may want to
use finer crewel wool.
62 WWW.SIMPLYSEWINGMAG.COM
02 03
05 06
Step one Use tacking stitches or a heat-erasable
fabric pen to draw your chosen design onto the
right side (RS) of the blanket.
Step two As most blankets are made up of
a complex weave, there is space between the
warp and weft to hide the back of your stitches
as you work. However, not all stitches can be
hidden. Surface stitches will ensure that the
reverse is magically unstitched while all the
embroidered decoration is on the front. Some
examples of linear stitch designs to try on your
blanket are:
01 Running stitch and laced running stitch.
02 Double laced running stitch and Eskimo
stitch.
03 Star stitch and straight stitch.
04 Cross stitch.
05 Back stitch and whipped running stitch.
06 Couching stitch and thorn stitch.
Step three Embroider your design using the
stitch and colours of your choosing. Bright,
contrasting colours will create a modern look,
while muted and complementary tones will
give the blanket a luxurious feel. To create the
design in the main image, a chevron motif has
been hand-embroidered using a whipped This embroidered throw
running stitch. is one of 20 projects in
Step four Once your embroidery is complete, Big Embroidery by Nancy
unpick the tacking stitches, or use a damp cloth Nicholson, published by
and a hot iron to iron out any of the pen mark SewandSo, £15.99. Visit
design guidelines. www.sewandso.co.uk
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 A GOOD R AD

A CULTURE
TRIP
We round up the very best fashion and
textile museums in the UK, whether you’re
after a look back in time, or something
altogether more contemporary.
Written by Sarah Dawson.

ashion is as much about looking back as

it is about moving forwards – indeed,
we’ve all seen familiar trends (including
the ones we’d much rather forget!)
return to the high street, reinvented
and reimagined for a new generation.
So, where better to look for sewing and style
inspiration than one of the many fashion and
costume museums in the UK? Their diverse
displays are where fashion and history collide;
where you might get the chance to admire
18th-Century ball gowns alongside 1960s mini
dresses and on-trend designer pieces; where
clothes from the past are given new meaning
with personal stories from the people who
wore them; and where ground-breaking
exhibitions explore the innovations yet to
come in the future. Here, we take a peek
behind the scenes at three iconic museums –
The V&A, Fashion Museum Bath, and The
Bowes Museum – to discover what goes into
curating their fashion exhibitions.

A dramatic Vivienne
Westwood gown,
inspired by 18th-
Century dress, on
display at the V&A.

64 WWW.SIMPLYSEWINGMAG.COM
The V&A's Balenciaga:
Shaping Fashion show
celebrated the iconic
designer's influence
on modern fashion.
The V&A, London
The Victoria and Albert Museum, aka the V&A,
stands proudly in South Kensington’s museum
district and is home to over 5,000 years of art
and design, featuring everything from ancient
Japanese suits of armour to Art Deco teapots.
Boasting a truly outstanding, world-class
collection of historical fashion spanning five
centuries, the V&A is a dream come true for
fashion lovers. It’s no exaggeration to say that
there really is something for every taste and
passion here, whether you’re interested in
grand 18th-Century mantua court gowns,
breathtaking eveningwear from the 1930s,
iconic fashion pieces from the Swinging Sixties
or modern designs from some of the country's
most ground-breaking
designers. You’ll also
find jaw-dropping “Every object should
pieces from key
fashion houses carry the exhibition
including Chanel, Dior
and Balenciaga –
narrative. You also need
which are all even a few unexpected pieces.”
more dazzling up close
– plus a collection of
wedding fashion through the ages,
extraordinary examples of the most exquisite
embroidery, and a comprehensive display of
accessories and jewellery that is guaranteed to
spark off some creative inspiration.
The V&A is known for its trailblazing fashion
exhibitions, and one of its latest shows, titled
Fashioned From Nature, on until 27th January
2019, is no exception. Presenting high-fashion
clothing alongside natural history specimens,
innovative fabrics and dyeing processes, it
invites us to consider the materials of fashion
and the sources, and the sustainability, of our
clothes. Its curator, Edwina Ehrman, aims to
“dispel the idea that sustainable fashion is
boring and worthy. Here visitors can see
striking and desirable fashions created by
Stella McCartney in viscose made from wood
pulp from sustainably managed, certified
forests in Sweden, and G-Star RAW’s Cradle to
Cradle gold standard certified denim.”
Subscribe at www.simplysewingmag.com
Photos: www.vam.ac.uk
The exhibition takes us on a chronological
style journey from 1600 to the present day,
and includes the environmental impact of
each piece. “In the historical periods I took my
lead from the trends of the time, such as the
vogue for printed cotton and fine muslin in
the 18th Century, and for furs in the 19th,”
explains Edwina, “but the fabrics are the focus
of the object labels. They explain what the
materials are, how they were produced and
what effect, if any, their manufacture and use
had on the environment.” It’s not all about
historical dress, though – for the modern
section of the display, Edwina chose garments
and accessories "that show solutions to the
environmental challenges that the fashion
industry has created.
Together, the fashions
represent a range of
different approaches
to sustainable design.
Colour and high
fashion values also
informed which pieces
I selected.”
For Edwina, creating
an exciting exhibition is not just about the
individual pieces, but also how they all work
together, both visually and historically. “Every
object should carry the exhibition narrative,
but they also should look great together or
visitors will pay them scant attention! You also
need a few stand-out or unexpected pieces,
such as the 175cm-wide court dress trimmed
with ermine fur from the 1770s, which is
displayed alongside a taxidermy
specimen of a stoat whose white
winter coat is used for ermine.
Objects like this provoke
conversations and entice our
visitors to look a little closer.”
Where? Cromwell Road, South
Kensington, London, SW7 2RL.
How much? Admission is free, although
some exhibitions and events carry a separate
charge, including Fashioned From Nature.
See more: www.vam.ac.uk
 A GOOD R AD
,
Fashion Museum Bath (and, indeed, our own wardrobes!), keeping
With its UNESCO World Heritage Site status moths at bay is an ever-present concern, says
and Georgian architecture, the beautiful city the museum’s manager Rosemary Harden.
of Bath has plenty to offer for a relaxing mini- “Like a lot of other museums, we run an IPM
break or day out. As well as the world-famous (integrated pest management) programme,
Roman Baths and dramatic abbey, the city is which involves monitoring both store and
home to one of the world’s leading fashion display spaces with insect traps. We check
museums. The Fashion Museum Bath has these regularly and if we find more than seven
a fascinating, extensive collection of historic moth in a trap we know we have to look for
and contemporary dress, all housed in the a garment that is particularly attractive to
grand setting of the city’s Assembly Rooms moths – more often than not something
– amongst Bath’s finest Georgian buildings. incorporating feathers, or fur or wool. Once
The museum’s ongoing A History of Fashion we have located a possible garment, we bag it
in 100 Objects display in polythene and
showcases 100 star freeze it for several
pieces from its “To be able to show and days, as this eradicates
100,000-strong any insect activity. We history, but both say something about the
archive. Each era-
share real fashions from then re-introduce it to time in which they were made, and at the
defining outfit or days gone by is a the collection area and same time about personal choice and style.”
accessory perfectly monitor to make sure Rosemary’s current pick from the museum's
captures a moment in
delight and a privilege." the problem doesn’t collection is “the beautiful silver metal thread
time and tells the story come up again.” embroidered purple silk evening dress, which
Photos: www.fashionmuseum.co.uk

of how fashion has changed over the last 400 Keeping the garments in a good condition
years. Including everything from beautiful for future generations to enjoy is a labour of
Regency fashion (very Bath!) to futuristic love for the Fashion Museum team. “Fashion
styles from Gareth Pugh, touches everyone’s lives, to a greater or lesser
as well as the best ten extent, and to be able to show and share real
shoe ‘moments’ in fashions from days gone by is a delight and a
history, the privilege,” Rosemary enthuses. “Visitors enjoy
exhibition seeing dress from the past, whether that is
really is a bright yellow 18th-Century silk dress (a style
a must-see. which might have been worn in Georgian
As with Bath) or the latest ensemble straight off the
many catwalk from Paris, like our ‘We Should All be
fashion Feminists Now’ T-shirt. Both of these are vastly
archives different looks, worn at very different times in
was designed by Paris fashion house Doeuillet
and chosen by Queen Alexandra as a part of
her royal wardrobe in around about 1910. It’s
on display in our current exhibition, Royal
Women, and it just glitters and sparkles – pure
queenly magnificence!” On until the end of
April 2019, the display charts the fashion worn
by female members of the British monarchy
and the important statements these made.
Where? Assembly Rooms, Bennett Street,
Bath, BA1 2QH.
How much? Tickets cost £9 for adults, £8 for
seniors and £7 for children aged 6-16.
See more: www.fashionmuseum.co.uk

Museum manager
Rosemary's current
favourite piece is a
lilac evening dress
(left) from the Royal
Women exhibition.

The Bowes Museum's
latest exhibition brings
together cutting-edge
garments and Chris
Moore’s revolutionary
catwalk photography.
The Bowes Museum, County Durham
The Bowes Museum, in the historic Teesdale
market town of Barnard Castle, was built in the
19th Century. This grand, French-style château
houses an impressive collection belonging to
John and Joséphine Bowes, which has been
added to throughout the centuries. Alongside
beautiful paintings, ceramics and furniture,
you’ll find its huge dress and textile collection,
now housed in a permanent gallery. Using
cutting-edge display methods, you can get
a 360-degree view of the garments on show
as you walk through a dazzling timeline of
fashion. With women’s, men’s and children’s
clothing from the late 18th Century right up
until the 1960s, expect a comprehensive trip
through time as you take in the various
displays. Highlights include heavenly 20th-
Century haute couture designs by Madeleine
Vionnet, wedding dresses, and an outfit that
once belonged to Empress Eugénie, one of
the 19th Century’s biggest fashion icons.
The garments on display are just a small
percentage of the Bowes Museum archive,
says Joanna Hashagen, curator of fashion and
Subscribe at www.simplysewingmag.com
A GOOD R AD
Photo: www.thebowesmuseum.org.uk
textiles there. “The displays are chronological
and chosen depending on what themes I want
to present or what points I want to illustrate.
Another criteria is the condition of the object; including two of Joanna’s many favourite
whether it is too fragile, or whether it requires garments: “A Jean Paul Gaultier dress from
conservation treatment. I like to choose items 1995, paid for by The Friends of the Museum
that have a provenance, so there is a history to and bought at auction, and a Dior designed by
tell – about who they belonged to, where they Maria Grazia Chiuri from spring/summer 2017,
were worn and who wore them, and so on. bought new from Dior with funding from the
The reserve collection is stored in wardrobes Art Fund.” This exhibition really is a once-in-
or packed in boxes, and stores are monitored a-lifetime opportunity to see seminal fashion
in the same way as display cases.” The pieces pieces all under one roof, so make sure you
on show are treated with the utmost care to visit before it closes on 6th January 2019.
preserve them, with the temperature and Where? Barnard Castle, Co Durham, DL12 8NP.
lighting kept just so. “The display garments How much? An annual pass, with unlimited
are mounted on conservation-grade materials, entry to both The Bowes Museum and the
including acrylic, which are fitted so they fully temporary exhibitions, costs £14 for adults
support the garment,” explains Joanna. “We and £12 for concessions.
monitor the temperature and humidity using See more: www.thebowesmuseum.org.uk
radio-controlled sensors in the display cases,
which also protects objects from dust, and the
lighting is reduced to 50 lux to protect dyes
from fading. We have sticky traps to monitor if
there is any insect activity, too.”
Joanna is the curator behind the museum’s
latest exhibition, Catwalking: Fashion through
the Lens of Chris Moore. This is a blockbuster
of a show, spread over three large galleries
and bringing together 230 of Chris Moore’s
revolutionary images that tell the story of the
evolution of fashion better than any book can.
Alongside these amazing pictures you’ll find
40 original catwalk outfits from some of the
world’s biggest fashion houses, from Yves
Saint Laurent to Alexander McQueen,
WWW.SIMPLYSEWINGMAG.COM 67
 festisvweet

Crochet C H R I S T M A S
you’ll e ideas
love!

Hook yourself a very

happy Christmas with
this collection of over
50 festive favourites
from the Simply
Crochet team. Packed
with patterns for gifts
and decorations, plus
winter warmer
accessories, it’s the
perfect crochet
companion for the
holiday season.

JUST

£8.99 inc P&P*

P R E - O R D E R Y O U R C O P Y T O DA Y !
CALL 03330 162 138 and quote ‘YOUR CROCHET CHRISTMAS 18 PRINT1’
ONLINE www.buysubscriptions.com/crochetxmas
UK calls will cost the same as other standard ixed line numbers (starting 01 or 02) and are included as part of any inclusive or free minutes allowances
(if ofered by your phone tarif ). Outside of free call packages call charges from mobile phones will cost between 3p and 55p per minute.
Lines are open 8.00am-6.00pm weekdays and 9.00am–1pm Saturday for orders only. Overseas please call +44 (0) 1604 973 746.
* Price applies to UK orders only. EUR price £10.99, ROW price £11.99. All prices include P&P. Please allow up to 28 days for delivery.
in the shade
Mix and match light and dark
denims for Jessica Entwistle's
patchwork ombré tote bag.
d nim tot bag
01 02

03 04

YOU WILL NEED
Q Three pairs of blue jeans
Q Lining fabric
Q Contrasting topstitch thread
Q Matching thread
Q Basic sewing kit
NOTES
Q Use a 1cm (3⁄8in) seam allowance.
Q The denim for the straps shouldn’t be
too heavy as this will be harder to
work with.
FINISHED MEASUREMENTS
Q Finished bag: 36x42cm (141⁄8X16½).
Straps: 80cm (31½in).
CUTTING OUT
Step one From each pair of jeans cut:
Outer strips: two pieces, 16x38cm (63⁄8x15in).
Step two From the lining fabric cut two pieces,
38x38cm (15x15in).
Step three From the lightest jeans cut:
Lining top strip: two pieces, 8x38cm (31⁄8x15in).
Step four From the darkest jeans cut:
Straps: two pieces, 8x90cm (31⁄8x35½in) each.
MAKING THE OUTER, LINING AND STRAPS
Step one To make the outer front, pin and sew
a dark and medium denim strip right sides (RS)
facing along one long edge and press.
Step two Pin and sew a light denim strip to the
raw edge of the medium denim strip RS facing
and press. Repeat to make the outer back. 01
Step three Pin one of the lining pieces RS together
to a lining top strip along one of the long edges.
Step four Sew, then press the seam open. Repeat
for the other lining piece and lining top strip.
Step five Take one of the straps and fold it half
lengthways RS together and pin along the length.
Step six Stitch along the length and then turn RS
out and press. Repeat for the other strap.
TOPSTITCHING THE PIECES
Step one Change to a contrasting thread then
topstitch the bag straps down both long edges.
Step two Repeat along the seams of the bag outer
front and denim top lining seam. 02
ASSEMBLING THE BAG
Step two Pin the bag outer front and back RS
together. Stitch down one side, along the bottom
and up the other side. Repeat with the lining, but
leaving an 8cm (31⁄8in) turning gap in the bottom
edge. Clip the corners and press the seams open.
Step two Pin the bag outer inside the bag lining,
RS together and with side seams matching. 03
Step three Sew the bag outer and lining together
all the way around the top. Turn the bag RS out
through the gap in the lining. Press the edges of
the turning gap to the inside of the lining, then
slip stitch the lining gap closed.
Step four Topstitch all the way around the top of
the bag to hold the lining in place.
ATTACHING THE STRAPS
Step one Tuck the short edges of one of the bag
straps under by 2cm (¾in) and pin to the RS of the
bag front 8cm (31⁄8in) in from the side seam and
4cm (15⁄8in) down from the top edge.
Step two Sew the strap onto the bag front using
topstitch thread. Fold the strap into a loop and
sew the other end in the same way, 8cm (31⁄8in) in
from the other side seam and 4cm (15⁄8in) down
from the top edge. Repeat with the other strap. 04

70 WWW.SIMPLYSEWINGMAG.COM
 USETHISMONTH'S
SubScRibEr
FabRic
PAGE 16

sitting pretty
Sweeten up your sewing table
with Louise Orths' pincushion
and needlebook in blush prints.
S wing S t
YOU WILL NEED 01 02
Q Matching thread
Q Basic sewing kit

For the needlebook

Q Three different prints, totalling
one fat eighth
Q Cord: 50cm (20in)
Q Felt: 13x5cm (5x2in)
Q Medium-weight fusible
interfacing
Q Erasable fabric marker

For the pincushion

Q Six different prints, totalling one
fat eighth
Q Thick/grosgrain ribbon 03 04
Q Stuffing

FABRICS USED
The fabrics used are from the Blush
collection by Riley Blake.

NOTE
Q Use a 1cm (3⁄8in) seam allowance,
unless otherwise stated.

Needlebook
CUTTING OUT
Step one From the three fabrics cut:
Outer: 18x13cm (7x5in).
Lining: 18x13cm (7x5in).
Inner pocket: cut two 13x8cm (5x3in).
Step two From the felt strip, cut 12.5x5cm
(5x2in).
Step three From the interfacing, cut
16.5x11.5cm (6½in4½in).
PREPARING THE LINING
Step one Centre and fuse the interfacing to the
wrong side (WS) of the outer fabric piece,
following manufacturer’s instructions. Set the
piece to one side.
Step two On the right side (RS) of the lining
piece mark a line 2cm (¾in) down from the
short end.
Step three Place your felt strip on the lining and
align the top edge of the felt to the line drawn.
Attach the felt to the lining by topstitching
approx 0.25cm (1⁄8in) from the top and bottom
edges of the felt. 01
Step four Take the two pocket pieces and sew
RS together with a 0.5cm (¼in) seam along the
long edge. Turn WS together, press and
topstitch approx 1⁄8in from the sewn edge. 02
Step five Place your pocket piece on top of the
lining at the opposite end to the felt. Align the
raw edges of the lining and the pocket and
baste in place along the raw edges.
Step six Marking a vertical line in the centre of
the pocket. Stitch along this line, sewing
through the pocket and the lining. Backstitch at
the start and end of this stitching line.
Step seven At either of the 12.5cm (5in) ends of
the lining, mark the middle point – this will be
approx 6cm (2½in) from either side.
Step eight Cut two lengths of 23cm (9in) cord.
Step nine Place the end of each piece of cord on
the centre marked point, with the rest of the
cord facing in towards the lining.
Step ten Tack the cord in place to secure and
then sew approx 0.25cm (1⁄8in) from the end.
Sew back and forth to make sure it is secure.
ASSEMBLING THE CASE
Step one Lay the outer fabric on top of the
completed lining piece with RS facing and sew
all the way around, leaving a gap of approx
7.5cm (3in) on one of the sides.
Step two Turn RS out and carefully poke out the
corners. Topstitch all the way around approx
0.25cm (1⁄8in) from the edge, closing the turning
gap as you sew.
PINCUSHION
CUTTING OUT
Step one From the ribbon cut five ribbon strips
each 5cm (2in) long, for the ribbon tabs.
Step two From your six fabrics cut:
Cushion side panel: 16.5x16.5cm (6½x6½in).
Cushion strips: Six strips measuring 16.5x3.5cm
(6½x1½in) in each of the different prints.
ASSEMBLING THE STRIP PANEL
Step one Sew all the strips RS together along
the long edges to create one panel. Press. 03
Step two Fold each ribbon tab in half and pin to
the strip panel piece. Align each tab at the
centre with each seam. Ensure the fold of each
tab faces inwards and the raw edges align with
the fabric raw edges.
Step three Tack in place 0.25cm (1⁄8in) from the
raw edge. Stitch back and forth a few times to
make sure the strips are secure.
MAKING THE PINCUSHION
Step one Place the completed strip panel on top
of the cushion side panel with RS facing and pin
along the edges.
Step two Start sewing the pieces together at the
top left corner of the long edge of the strip
piece, backstitching at the start and end, and
leaving a 7cm (3in) gap in the centre of this first
edge. Then sew down the edge with the ribbon
tabs, and along the bottom edge. Leave the
other edge unsewn.
Step three For the remaining side, pull apart the
two sides, aligning the seam from the top edge
with the seam from the bottom edge. Pin into
place and sew along this line. 04
Step four Turn the cushion RS out and carefully
poke out the corners.
Step five Stuff until you achieve your desired
firmness then hand-sew the turning gap closed.

72 WWW.SIMPLYSEWINGMAG.COM
 W !
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Wonderland Coming
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soon!

Featuring a collection of 6 fabulous

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 IncLudes

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IssUe 46
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tricks & Treats
Magic up a fang-tastic treat
bag and bunting set with
Kirsty Hartley’s how-to.
ha ow n s t
YOU WILL NEED 01 02
For the treat bag
Q Outer felt: 68x43cm (27x17in)
Q Lining felt: 68x43cm (27x17in)
Q Yellow fabric scraps, for the eyes
Q White fabric scraps, for the teeth
Q Black fabric scraps, for the pupils
Q Silver glitter fabric scraps, for the
nostrils
Q Ribbon: 42cm (17in), to decorate
the handle (optional)
Q Bondaweb: 24x76cm (10x30in)
Q Matching thread
Q Basic sewing kit

For the bunting

Q Black felt: 40x35cm (12x18in) 03 04
Q Orange felt: 20x25cm (12x18in)
Q Glitter fabric: 35x15cm (12x6in)
Q Bondaweb: 80x43cm (32x17in)
Q Strong thread or fine ribbon: 3.5m
(4yds), for hanging
Q Yarn, for the pom poms
Q Pom pom maker
Q Matching thread
Q Basic sewing kit

NOTES
Q The seam allowance is 1cm (3⁄8in)
unless otherwise stated.
Q Download the templates from
www.simplysewingmag.com/
downloads
treat Bag
CUTTING OUT
Step one Download, print and cut out all of the
templates for the bag from www.simplysewing
mag.com.
Step two Following the manufacturer’s
instructions, press the Bondaweb onto the
wrong side (WS) of the lining felt piece. Wait for
this to cool fully and then carefully peel off the
paper backing. Place the outer felt piece over
the top and press again to join the outer and
lining pieces – these will then be cut out and
sewn as one piece.
Step three From this joined piece cut out:
Bag body: cut two using the template.
Wings: cut a pair using the template.
Bag base: cut one using template.
Handle: cut one strip 42x3cm (16½x1¼cm).
Step four From the white felt cut:
Teeth: cut two triangles.
Step five Press Bondaweb to the WS of the
yellow, black and silver glitter fabric scraps.
Step six From the yellow fabric cut:
Eyes: cut a pair using the template.
Step seven From the black fabric cut:
Pupils: cut a pair using the template.
Step eight From the silver glitter fabric cut:
Nostrils: cut a pair using the template.
MAKING THE FACE
Step one Remove the paper backing from the
shapes and position them on the treat bag
front. Cover with a pressing cloth and press
them into place.
Step two Position the teeth and then stitch
along the top edge of each tooth only.
ATTACHING THE WINGS
Step one Prepare each of the wings by sewing
around the outer edge, using a contrasting
thread for definition. Then sew the wing
structure lines as shown in the picture.
Step two Place each wing 2cm (¾in) below the
top of the treat bag then sew along the inner
edge to secure. 01
ASSEMBLING THE TREAT BAG
Step one Sew the side seam of the treat bag by
placing each treat bag half with right sides (RS)
facing. Sew 5mm (¼in) in from the edge.
Step two Pin the base into position then sew
into place 5mm (¼in) from the edge. 02
Step three Sew along the outer edges of the
handle for decoration.
Step four If desired, add a length of ribbon
along the centre of the handle for decoration by
topstitching along the long sides to secure.
Step five Position each end of the handle to the
corresponding side seam on the inside of the
treat bag and sew it into place. 03
BUNTING
CUTTING OUT
Step one Following the manufacturer’s
instructions, press the Bondaweb to the WS of
the black felt piece. Leave the paper backing
attached for now.
Step two Cut this black felt piece into two
pieces measuring 20x25cm (12x18in) for the
bats, and 35x15cm (12x6in) for the stars. Now
carefully peel off the paper backing.
Step three Press the orange felt onto one of the
black felt pieces.
Step four Press the glitter felt onto the other
black felt piece.
Step five From the orange piece cut:
Bats: cut three using the template.
Step six From the silver glitter piece cut:
Stars: cut four using the template.
ASSEMBLING THE BUNTING
Step one Make pom poms that measure 4cm
(15⁄8in) in diameter using the pom pom maker,
following the manufacturer’s instructions.
Step two Arrange your bunting shapes and pom
poms, spacing them approx 15cm (6in) apart.
Step three Use a large needle to sew alternate
shapes onto thread or thin ribbon, working the
needle beneath the surface on the WS. 04
Step four Tie loops at either end of your bunting
so you can easily hang it up at home.

76 WWW.SIMPLYSEWINGMAG.COM
crafty critter
Colouring in just got cuter
with Laura Pritchard’s
appliqué fox pencil case.
p nci cas
01
04
YOU WILL NEED
Q Outer fabric: 30x40cm (12x16in)
Q Lining fabric: 30x32cm (12x13in)
Q Wadding: 30x32cm (12x13in)
Q White fabric: 20x8cm (8x3in), for
the cheeks
Q Black fabric: 8x3cm (3x1in), for the
eyes
Q Bondaweb: 20x8cm (8x3in)
Q Zip: 30cm (12in)
Q Matching thread
Q Basic sewing kit
NOTES
Q Follow the manufacturer’s
instructions for the Bondaweb.
Q The seam allowance is 5mm (¼in)
unless otherwise stated.
Q Download the template from
www.simplysewingmag.com/
downloads
78 WWW.SIMPLYSEWINGMAG.COM
02
05
CUTTING OUT
Step one From the outer fabric cut:
Case outer: two pieces 16x30cm (63⁄8x117⁄8).
Ears: 5x8cm (2x31⁄8in).
Step two From the lining fabric cut two pieces,
16x30cm (63⁄8x117⁄8) each.
Step three From the wadding cut two pieces,
16x30cm (63⁄8x117⁄8) each.
Step four Fuse the Bondaweb to the wrong side
(WS) of the white and black fabric.
Step five From the white fabric cut:
Cheeks: two using the template.
Step six From the black fabric cut:
Eyes: cut two using the template.
Nose: cut one using the template.
MAKING THE FACE
Step one Press the face pieces to the right side
(RS) of one of the outer pieces, starting with the
cheeks and then layering the eyes on top,
positioned at least 7cm (2¾in) in from each side
and at least 5cm (2in) up from the bottom edge.
Step two Stitch around the edge of each
appliqué piece using blanket stitch.
Step three Fold one ear fabric piece in half
horizontally with RS facing. Place the ear
template on top and draw around it. Stitch
along your drawn lines then cut out the ear
shape, approx 2mm (1⁄8in) from the stitching.
Leave 6mm (¼in) excess at the bottom edge.
Step four Turn RS out and press. Fold the raw
03
06
edge to the inside, position at the top of the
face and topstitch along the bottom edge.
Step five Repeat with the other ear. 01
ASSEMBLING THE CASE
Step one Place a piece of wadding on your work
surface and then the outer piece with the face
on top, RS up. Place the zip aligned with the top
edge with RS together and then add a piece of
lining, RS facing down. 02
Step two Stitch along the top edge with a zip
foot. Press the lining away from the zip.
Step three Open the zip a little then repeat with
the other outer, wadding and lining on the
other side of the zip. 03
Step four Fold the pencil case in half to align the
long raw edges, RS together. Pin and stitch
together to create a tube. Press the seam open.
Step five Flatten the tube so the zip is at the top,
centrally aligned with the seam beneath. Stitch
along the raw edges to close the short sides. 04
Step six Flatten the corners at the bottom of the
case so that the side seam is uppermost and
central, and pin together. 05
Step seven Measure 3cm (1¼in) from the corner
and mark a line cutting across the corner. 06
Step eight Sew along the line, then cut away
excess, leaving a 6mm (¼in) seam. Repeat for
the other corners.
Step nine Turn the pencil case RS out through
the open zip to finish.
forever friend
Make an heirloom toy they’ll
treasure forever with Jo Carter’s
classic rag doll design.
Rag do
01
07
YOU WILL NEED
Q Hair fabric: 28x28cm (11x11in)
Q Skin fabric: 40x40cm (16x16in)
Q Body fabric: 40x40cm (16x16in)
Q Leggings fabric: 20x20cm (8x8in)
Q Dress fabric: 22x40cm (9x16in)
Q Shoe fabric: 20x10cm (8x4in)
Q Snap fasteners or Velcro (optional)
Q Polyester toy filling
Q Stranded cotton in black
Q Two pieces of ribbon: approx 20cm
FABRICS USED
Shannon Solid Cuddle 3 in Brown
Kona Cotton Solids in Parchment by
Robert Kaufman.
Sigrid in Dove White, Cottage by Tilda.
Stem Dot in Turquoise, Foxglove by
Aneela Hoey for Cloud 9 Fabrics.
Essex Yarn Dyed Linen in Malibu by
Robert Kaufman.
FINISHED SIZE
Approx 40cm (16in) tall.
NOTES
Q Download the templates from
www.simplysewingmag.com/
downloads
Q The seam allowance is 6mm (¼in),
unless otherwise stated.
80 WWW.SIMPLYSEWINGMAG.COM
02 03
08 09
CUTTING OUT From the dress fabric cut:
Step one Download, print and cut out all the Dress front – cut 1.
template pieces. Dress back – cut 1.
Step two Arrows on the pattern pieces indicate From the shoe fabric cut:
pattern/pile direction for marking and cutting out. Shoes – cut 2.
Step three When the pattern specifies to cut two
or more of a pattern piece, after marking out half MAKING THE FACE
of the pieces required the template needs to be Step one As the pigtails, arms and legs are sewn
turned over to mark out the remaining half so that directly into seams, we advise that you sew over
the pieces are cut as mirror images. the joins to make sure they are firmly secured. This
Step four Using a water erasable pen, draw will reduce the likelihood of them being pulled
around the pattern pieces onto the wrong side out by accident.
(WS) of the fabric and cut out the following: Step two With right sides (RS) of the small fringe
From the hair fabric cut: and the corresponding side of the face together,
Large fringe – cut 1. sew the pieces together and then sew the large
Small fringe – cut 1. fringe to the top of the face.
Back hair – cut 2. Step three Sew a back hair piece to its
Pigtail – cut 2. corresponding side of the neck. Repeat for the
From the skin fabric cut: other side. 01
Face – cut 1. Step four With RS together, fold a pigtail in half
Neck – cut 1. and sew around the sides, leaving the short end
Arm – cut 4. open, and then turn RS out. With the open end on
Feet – cut 2. the right, fold the open end in half and tack the
From the body fabric cut: fold in place.
Front body – cut 1. Step five Repeat to make the other pigtail, but this
Back body – cut 2. time with the open end on the left so that the fold
Sleeve – cut 2. is on the opposite side to give a pair of mirror-
Dress front facing – cut 1. image pigtails. 02
Dress back facing – cut 1. Step six With the front folded side of the pigtails
From the leggings fabric cut: against the RS of the face, tack them into position
Legging – cut 2. where marked. 03

04
10
MAKING THE BODY
Step one Sew a back body piece to its
corresponding side of the front body at the
shoulder with RS facing. Repeat for the other side.
Finger-press the seams open. 04
Step two Sew the neck to the top of the body with
RS facing. 05
Step three Place two mirror-image arm pieces one
on top of the other with wrong sides (WS) facing
and sew together, leaving the top open.
Step four This doll has been made using mainly
cotton fabric so clipping into internal curves and
cutting notches around the external curves is
instructed, but clipping isn’t always required with
stretchy fabric. When clipping, always take care to
avoid cutting into the stitching.
Step five Clip into the internal corners and clip
V-shaped notches in the seam allowance around
the external curves of the arm. Turn RS out and
stuff, leaving the top 1-2cm (3⁄8-¾in) empty. Tack
the end closed to keep the raw edges aligned.
Repeat to make the other arm. 06
Step six Zigzag stitch along the bottom edge of
the sleeve and then press the seam allowance to
the WS and sew into place to hem. Fold the sleeve
in half RS together and sew along the side seam.
Turn the sleeve RS out and fit it over the top of an
arm, making sure that all of the raw edges line up.
Tack the sleeve in place at the top of the arm.
Repeat to make and fit the other sleeve. 07
Step seven With RS facing, place the front and
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05
11
back body together along one side and sandwich
the top of an arm in place between the shoulder
seam and the marker. Pin in place with RS facing.
Sew the side of the body together, fixing the arm
in position. Repeat for the other side. 08
MAKING THE LEGS
Step one With RS facing up, position a shoe piece
over a foot and topstitch around the top of the
shoe approx 3mm (1⁄8in) in from the edge. Sew
around the remaining sides of the shoe inside the
seam allowance to hold the shoe securely to the
foot. Trim away any excess shoe that overhangs
the foot. Sew the top of the foot section to the
bottom of a legging. Repeat for the other shoe,
foot and legging. 09
Step two With RS together, fold a leg piece in half
and sew along the back and down around the
shoe/foot. Turn RS out and stuff, leaving the top
1-2cm (3⁄8-¾in) empty. Bring the top open end of
the leg together so that the seam runs centrally
down the back of the leg and tack the end closed.
Repeat for the other leg. 10
Step three Close the dart at the back of each back
body with the RS of the fabric facing. Sew the back
body pieces together from the bottom up as far as
the dart. 11
Step four With the front of the legs against the RS
of the front body, tack the legs in position one at
a time where marked. Bring the front and back
body together and pin RS together. Sew across the
rag do
06
12
bottom of the body, fixing the legs in position.
Take care to remove all pins. 12
ASSEMBLING THE DOLL
Step one With RS together, start at the top centre
notch on the large fringe and sew the face to the
back hair/neck section, ensuring that the markers
line up during sewing.
Step two With RS together, sew the back of the
head and body closed, but leaving a 7-8cm (3in)
opening in the back of the doll. 13
Step three Zigzag stitch around the lower half
from underarm to underarm on each of the dress
and facing pieces. With RS together, place a dress
back facing piece over a back dress pieces so that
the edges align.
Step four Sew these pieces together from
underarm to underarm, leaving the sides free. Clip
into the seam allowance at the internal corners
and clip V-shaped notches around external
corners. Turn RS out and press.
Step five Repeat these steps to assemble the front
dress pieces. 14
Step six Topstitch from the underarm to
underarm around the top of the front and back
dress sections. 15
MAKING THE DRESS
Step one With RS together, sew the front and
back dress along the sides. Turn the dress RS out
and then press the seam allowance to the WS
WWW.SIMPLYSEWINGMAG.COM 81
Rag do
13 14 15

16 17 18

around the bottom of the dress and hem. 16 Ensure dolly’s arms,
Step two Securely fit your preferred fastener to legs and pigtails are
secure by sewing the
the tops of the dress straps on either side. Note joins more than once.
that if you do not want the dress to be removable,
the straps can be hand-stitched together once the
dress is on. 17

FINISHING THE DOLL

Step one Turn the doll the RS out and stuff.
Step two Mark out the facial features using
a water-erasable pen and embroider a face using
black stranded cotton (three-strand thickness for
the smile and eyelashes).
Step three Re-adjust any filling that has become
disturbed and close the opening in the back using
ladder stitch then put on the dress.
Step four Tie each piece of ribbon into bows and
trim the ends (apply glue to seal if desired). Make
several stitches through the knot of the bow so
that it can’t be untied then stitch in place at the
top of each pigtail. 18

See Jo Carter sewing

her toys live on Sewing
Quarter on Freeview 73
and Sky 687, at www.
sewingquarter.com, or
www.youtube.com/
sewingquarter

82 WWW.SIMPLYSEWINGMAG.COM
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 FRESH IDEAS WITH FABRIC

The guide
nd essential information,
PinKing SheArs
These cut a
zigzag edge on
fabric to neaten.

useful stitches and key sewing

techniques on these pages.

MarKing pen
Transfer markings to
your fabric, then wash
them out when finished.

Tape MeaSure Pins

A flexible fabric Stainless steel
tape measure will pins with sharp
take accurate points are best.
measurements.
SheArs
Keep a pair of
sharp shears just
for cutting out
your fabric.
FabRic CliPs
Use these instead
of pins when sewing
thicker fabrics.

MarKing PenCil
Choose a colour
that shows up on
your fabric.

SmaLl SciSsors
Use for snipping
TaiLoR’s ChaLks threads and
Chalk temporarily cutting notches.
marks fabric and
can be easily
brushed away. ThiMble
Wear to protect
your fingers when
handstitching.

Seam RipPer
This sharp blade
cuts through and
unpicks stitches.

WWW.SIMPLYSEWINGMAG.COM 85
 FRESH IDEAS WITH FABRIC
The guide
HOW TO MEASURE
YOURSELF ACCURATELY
ALWAYS MEASURE YOURSELF
BEFORE you choose a pattern size
to cut out. The sizes do vary greatly
from pattern to pattern, so it’s
always best to measure yourself
accurately and then refer to the
pattern’s size chart to find your
size. The chart will usually be
printed on the pattern envelope or
on the instructions inside.
Measure yourself in your
underwear and preferably in the
bra you’ll be wearing underneath
HOW TO USE A PATTERN
Preparing your fabric and cutting
out your sewing pattern accurately
is just as important as the actual
sewing. Wash your fabric before
you begin as fabric can shrink and
run. Once dry, press it well.
PREPARING THE PATTERN
Patterns often come with several
options of different finishes so you
may have more pieces than you
need. The instruction sheet will tell
you which pieces to use. Roughly
cut out all of the pieces outside the
lines then press the pieces using
a dry iron on a low heat to remove
the folds and creases.
CUTTING OUT THE PATTERN
Choose your size using your
measurements and the size chart.
Cut along the corresponding lines
on your pattern. When you reach
any fiddly curves, take care to cut
along the correct size lines.
CUTTING LAYOUTS
Choose the correct one for the
width of fabric you’re using, the
86 WWW.SIMPLYSEWINGMAG.COM
HeiGhT
Back WaiSt LenGth
From the top of your
spine at the base of
your neck to your
Stand against a wall,
barefoot, then measure
from the top of your
head to the floor
natural waist
High Bust/CheSt
Across the back,
your garment as this can alter the under your arms and
measurements slightly. Use a fabric Bust above the bust
tape measure as it’ll curve around Around the
your body well for accuracy. You fullest part
can measure on your own if you of your bust
stand in front of a mirror, but, for
best results, ask a friend to help so
they can check the tape measure is
sitting in the right places. Make
sure the tape measure sits snugly WaiSt
around you but is not pulled tight. Your natural
Take the measurements shown in waistline, around
the diagram and note them down. the slimmest part
of your waist
size you’re cutting and the style of
Hips
Around the fullest and
garment. Many patterns have more widest part of your
than one option (or view) and each thighs and bottom
one can have a different layout.
CUTTING OUT
PATTERN MARKINGS
Lay your fabric flat and smooth it
out. Fold or place the fabric as
shown on the cutting layout. Lay
the pattern pieces in the order and
right side or wrong side up as Pleats: These lines are matched Arrows: Grainline arrows are used
shown. Check to make sure that up to create pleats on the cut to show which direction to pin the
the grainlines on the pattern are out fabric pieces. pattern on the fabric. The grainline
parallel with the selvedges by runs parallel to the fabric edge.
measuring. Pin your pattern pieces
carefully in place and cut around
them through the fabric using
a pair of dressmaker’s shears.
TRANSFERRING MARKINGS Notches: Shown as
The markings on the pattern triangles or small
pieces need to be transferred to lines, these are
Darts: These
the fabric. They’re really important marked on the
lines are for
for matching up fabric pieces later edges and are
matching up to
and for positioning elements such mainly used for
create darts
as darts and pockets. You can mark matching up
within the
these with chalk, fabric markers, pattern pieces.
fabric pieces.
snips on the fabric, or with small
tacking stitches.
 CHOOSING AND BUYING FABRICS
IT’S IMPORTANT TO CHOOSE the correct fabric for
your pattern. Most patterns give suggested fabric
types that will work best with the style of garment.
Use this to guide you as some patterns need more
drape, body or structure than others.
Fabric can be made from natural fibres such as
cotton, linen, wool and silk or synthetic fibres such
as acetate, acrylic, nylon, polyester, rayon and
viscose. All these fabric come in different weights, or
thicknesses, which suit different garments.
Lightweight fabrics are ideal for lingerie, nightwear
and summer clothing, and include cheesecloth,
chiffon, crepe-de-chine, georgette, lawn, muslin,
organdie, organza and voile.
Medium-weight fabrics, which work for dresses,
shirts, trousers and childrenswear, include calico,
cotton, crepe, dupion, linen, poplin and finer wool.
Heavy-weight fabrics are used for garments or
projects needing more strength, like coats, jackets,
winter wear and bags. Canvas, corduroy, denim,
tweeds, velvet and wool are all in this category.
Some patterns require fabrics that are quite fluid
and have a good drape to make them hang properly,
such as a circle skirt or blouse. Synthetic or synthetic
mix fabrics such as rayon, challis, chiffon or
lightweight jersey have a better drape to them.
Stretch and knit fabrics such as jersey and lycra are
virtually crease free and comfortable to wear. They
can be bought in a variety of thicknesses and
ONCE YOU HAVE FINISHED
stitching your seam, it’s best to
press it open on the wrong side
so it lies flat. Sometimes it’s
qualities depending on their use but are ideal for
better to press it to one side to
sportswear and casual clothing.
reduce bulk but the pattern
Interfacing gives an extra layer of support to your
instructions will tell you this.
fabric – for example, to stiffen facings and collars.
Usually the seam allowances
Choose an interfacing that’s slightly lighter than your
are left as they are as they help
main fabric, and if you’re using a fusible (iron-on)
to strengthen the seam, but
option then always test it on a scrap of the fabric first
sometimes they cause too
as it can melt if the iron is too hot.
much bulk so they are trimmed
Interfacing is available in different weights and as
to half their original width.
an iron-on (fusible) or sew-in version. With fusible
If your fabric has a tendency
interfacing, press the shiny side to the wrong side of
to fray you should neaten the
your fabric. Tack sew-in interfacing to the wrong side
raw edges after you have
of the fabric pieces around the edges.
worked the seam. There are
If you’re buying fabric off a roll (or bolt) then you’ll
several ways of doing this. To
usually buy it by the metre. This is only the length of
machine-finish them, set your
the fabric you’re buying – the width depends on the
sewing machine to the zigzag
width of the roll. Fabrics are sold in standard widths,
stitch then stitch close to the
which vary according to their purpose – for example,
raw edge all the way along. The
dressmaking or quilting fabric generally comes in
zigzag must be small enough to
standard widths of 112cm (44in) or 150cm (60in).
stop the fabric from fraying but
Curtain or soft furnishing fabric is normally 137cm
large enough to enclose the
(54in) wide and is really useful for bags and aprons as
bulk of the fabric. Practise a few
it’s thicker and stronger than dressmaking fabrics.
lengths and widths before you
The fabric requirements on the pattern instructions
begin. Alternatively, you can
will tell you what length of fabric to buy, usually with
trim the raw fabric edges with
two width choices. Some patterns, such as large
a pair of pinking shears. If you
circle skirts, can only be cut from the wider fabrics.
have an overlocker then you
can stitch, cut and finish the
seams all in one process.

MACHINE NEEDLES
There are many different needle types and they vary
by the shape of the point, eye and shaft thickness.
Choose the correct one for smooth stitching.
UK US
FABRIC
SIZE SIZE
UniVeRsal ShaRps QuiLting
A great multi-purpose needle With a sharp point, these are for This will pierce multiple layers 60 8 Silks
which can be used for woven sewing very fine and delicate whilst keeping straight stitches so
Lightweight
fabrics and has a slightly rounded fabrics and neat buttonholes. it is ideal for patchwork and 70 10
fabrics
point for stitching knit fabrics, too. machine quilting. Medium
LeaTher 75 11
weight fabrics
Ball PoiNt This needle’s wedge-shaped TopStItch 80 12
Medium
This needle has a more rounded cutting point is used to work This has an extra-sharp point and weight fabrics
point than the universal needle so strong seams on non-woven eye, so thicker topstitching thread Medium
90 14
you won’t get snags, ladders or fabrics like leather, suede and vinyl. can be used. It’s perfect for straight weight fabrics
holes. Perfect for knit fabrics. stitching with thicker threads on Heavy weight
100 16
StrEtch any type of fabric. fabrics
JeaNs Designed for sewing two-way 110 18
Upholstery
fabrics/denim
A strong needle, ideal for stitching stretch knits such as lycra and silk Twin
several layers of fabric or tightly jersey. It prevents skipped stitches Used for parallel rows of stitching 120 20 Heavy canvas
woven fabrics like denims. on fine knit fabrics. such as pintucks and hems.

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 FRESH IDEAS WITH FABRIC
The guide
GLOSSARY
DraPe
For a full glossary of sewing terms
visit www.simplysewingmag.com
A term used to describe the way
a fabric hangs under its own
weight. Different fabrics have
different drape qualities.
Ease
The addition of extra fabric in
a pattern to allow the finished
garment to fit the body well.
EdgEsTitCh
A row of stitching on the very
edge of a garment, usually
2-3mm (1⁄16-1⁄8in) from the folded
or seamed edge. Used to hold
the fabric edge neatly in place.
FacIng
This pattern piece is cut
separately to stabilise and create
a neat finish on the edge of
a garment, such as the neckline.
fat QuaRter
A term used to describe a cut
piece of fabric often used for
patchwork projects, usually
measuring 46x55cm (18x22in).
FinIsHing/NeaTeNing raw EdgEs
This is done to stop the fabric
edges, particularly of a seam,
from fraying. It can be done by
machine zigzag stitch, using an
overlocker or trimming the raw
edge with pinking shears.
GraIn/GraInLine
The lengthwise fabric grain,
running parallel to the selvedge.
nap
Fabrics like velvet, corduroy and
fur have hairs or loops which all
lie in one direction and are
called the nap, or pile. When
cutting out pattern pieces make
sure the grainline arrow always
runs in the direction of the nap.
NotIons
Small tools or accessories used
88 WWW.SIMPLYSEWINGMAG.COM
in sewing such as zips, fasteners,
lace and buttons.
RigHt Side (rs) / WroNg Side (ws)
The right side of the fabric, also
called the ‘public’ side, has the
design on it. The wrong side is the
other side – this is usually a little
duller or faded on plain fabrics.
Seam AllOwAnce
The fabric between the raw or cut
edge of the fabric and the seam is
called the seam allowance. Your
pattern will tell you the required
seam allowance measurement.
This is usually 1.5cm (5⁄8in) for
dressmaking, but can vary.
SelVedge
The finished woven edge of fabric,
often with the fabric name printed
on it. The grain runs parallel to this
and the bias diagonally. Called
selvage in the US.
StaYsTitChing
A line of regular machine stitching
usually worked 3mm (1⁄8in) inside
the seam line, often used to
stabilise curved edges to stop
them stretching out of shape.
Tack/TacKing
A line of temporary stitching used
to hold fabric pieces together
before machine sewing, worked in
the same way as running stitch.
Known as basting in the U.S.
TopStItcHing
A line of stitching worked 5mm
(¼in) from the folded or seam
edge. Used to hold the seam in
place and as a decorative finish.
UndErStiTcHing
A line of stitching worked through
the facing and seam allowance
3mm (1⁄8in) from the seam to stop
the facing rolling to the outside of
the garment. Understitching will
not be visible on the outside.
STITCH GUIDE
Use these basic hand stitches to complete your
home and dressmaking projects.
LadDer StiTch
Used to join together and close
two turned-under edges invisibly, 2 3 5
such as on a dress lining or soft
toy. Bring the needle up at 1 on 1
4
one side of the seam, then in at 2
on the opposite side and out at 3,
so the stitch is 3mm (1⁄8in) long.
Push the needle back in the
opposite side at 4 and out at 5. Repeat this to close the edges.
Slip StiTch
This stitch is used most often for
hems where you need to stitch 3 2
a turned-under edge to a flat 1
piece of fabric using small, almost
invisible stitches. Bring the needle
up at 1 on the turned-under hem
then back in at 2 and out at 3.
Make this horizontal stitch as
small as possible so it can’t be seen from the front. Repeat this by
making a vertical stitch back into the turned-under edge then
continue in this way to complete the hem.
Whip StiTch
Whipstitch is used to join the
edges of two fabrics together,
such as felt and other fabrics that
don’t fray. With the right sides
together, bring your needle out at 2 1
1 on the front of the fabric, then
over to the back of the other, and
through and out at 2. Continue to
work small stitches close together over the top of the two fabric edges.
RunNing StiTch
This can be used to gather fabric
and as a decorative stitch worked
around the edge of a finished
4 3 2 1
project. Bring the needle out at 1,
in at 2, then out at 3 and in at 4,
and so on. Make the length of the
stitches the same length as the
gaps between them for an even
finish. You can work several running stitches on your needle at once.
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 my favourite thing
biker chic
Blogger Julia Bobbin discovered the joys of slow sewing in
perfecting the fit and finish of her leather biker jacket.
“When I first discovered sewing I fell for it
hard. Sewing enables me to develop new
skills, learn what I like to wear, and satisfy that
DNA-deep urge to create and make.
This leather jacket was a discovery moment
for me. I had been obsessing for months with
a jacket design in my head, and I had spent
hours making muslin after muslin until I got
the fit and style I was after. I used the Eddie
Biker Vest pattern by Style Arc as my block
pattern and then changed the design. The
pattern is just a vest, so I added sleeves from
Burdastyle's 108B pattern.
I've always been in such a hurry to finish
what I’m making and start working on my
next garment. This jacket was the first time
that I really slowed down and took my time
90 WWW.SIMPLYSEWINGMAG.COM
and, to my surprise, I found that sewing slowly
enhanced my enjoyment of the project, both
in the creating and in the wearing.
This was the first creation where I felt
immense satisfaction and pride in the finished
piece and it reminded me that the joy is in the
making, and not just in the wearing.
Learning to focus on perfecting the design
and fit, even if it means making three muslins,
has actually increased my productivity and
enhanced my love of sewing. When I wear this
jacket I am reminded of how far I’ve come,
what I’ve learnt and how much I love my craft;
that brings me immense joy.”
See more of Julia's projects at www.julia
bobbin.com, and follow her on Instagram at
www.instagram.com/juliabobbin
 Togetherness • Inspiration • Creativity

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