The Beginner's Guide to Dressmaking By Wendy Ward.

This book was written by a teacher of dressmaking, pattern cutting and creator of MiY Collection patterns.  Wendy has held classes specifically for our members so, of course, I had to see what the book was like when it was published in November.  Here's a picture of the book and its twin in cake taken at the Launch Party.  The cake was made by 2 of Wendy's pupils, the lady who iced it also spins her own wool  and knits with it as well as doing perfect top stitching and making collars with beautifully sharp corners. 

 Unlike other books for beginners that I have seen, Wendy plunges the reader straight into what those buying a book on dressmaking want to do- make clothes.  I think some people are put off by wading through pages of technique or making aprons before getting to any mention of making a garment as with some books for beginners.  There are 6 full size patterns with this book ranging from bust size 84 cm (33 ins) to 101 cm (39 3/4ins).  You do have to trace these off and they overlap but they are on stiff paper and clearly marked ( forget about the nightmare experience of trying to trace a pattern from the flimsy overcrowded pattern sheet of a Burda Magazine).  The brief introduction describes how to use the book followed by the tools you will need  and then it is straight into the projects, which start with the easiest and gradually increase in complexity.  Each project has the techniques that you will need listed and these techniques are described and demonstrated in the rear section of the book.  I like the way that the finished measurements of the garments are clearly given so you know how much ease there is in the pattern.
I thought that I would try making a garment following the instructions to see how easy it would be for a beginner.  I am not a beginner,   more of a "can put a garment together but definitely could do better if she paid attention" type of sewer.  I adored the zip jacket, project number 5, and this seems to be the item that most people pick on as a garment they would like to make so here is my version and how the construction went.

First I wanted to know how the jacket might fit me so I took a commercially made jacket that I had with the sort of fit I was hoping for and measured around the chest of the jacket to compare it with the finished size that Wendy gave for the size I was making, size 1.   Bingo, what a match!  Please remember when you are measuring to make sure you are using an accurate tape.  If it is an old one it may well have stretched or distorted so check it against a solid (metal or plastic) ruler.

 Next I traced the pattern using Waitrose greaseproof paper, which I like because it is white- do not use baking parchment because it is not so easy to write upon and, if you have to stick sheets together with sticky tape to get the width , it does not stick.  Below is a picture of the pattern sheet and the paper laid out and weighted down to stop it sliding while I trace.  Always check that your tracing paper has not shifted once you have completed tracing the piece, you need to be accurate in your tracing.  Some people use a highlighter to emphasize the line of the size that they are tracing and this would be particularly useful if you are grading between 2 different sizes, for example if your bust size is a size bigger than your hip size.

Here are the finished pattern pieces, traced and ready to use.  There are only 3 pieces in total, front, back and sleeve, for the simplest version of the jacket and you will cut two pieces of each piece.  You cannot see it very well in the photograph but I have penciled on the pattern all the marking, notches, grainlines etc that are on the sheet.

Wendy gives the yardage necessary for the garment and a cutting layout.  However I suggest you trace out your pattern before you go to buy the fabric for it and play around with various layouts and fabric widths for the pattern you have created to find out how much you will need to buy.  I found that I needed less fabric than stated for the 140 cm wide fabric I was using.
Once you have cut out your fabric and transferred the markings to the fabric then I suggest you pin fit the garment.  That is you pin the darts in position and pin the shoulders and sides together and, very gingerly, try on the garment.  This will give you a good idea of how it will fit you.

As you can see, the body of the jacket looks fine - but always check the sides and back too.  Below you can see that the back of the neck gapes.

 Luckily there is a centre back seam so I could easily deal with this by increasing the seam allowance from the neck and gradually tapering it down into the back.  With this jacket there are no facings or lining so that you do not have to make alterations for these.  There is limited scope for alteration with the patterns (taking in or letting out at side seams and lengthening and shortening) although Wendy says that she has designed these patterns to need little alteration.  She does not recommend making bust adjustments on any of the sleeved garments in the book, and this is an area where many women find it hard to get a good fit, so there is no information on how to do this.

Taking the pins out, and dropping a few on the floor, I was now ready to apply the fusible interfacing.  Wendy suggests cutting strips from iron-on interfacing of the appropriate weight for the fabric, and this is a good way of using up those odd bits of interfacing you get stuck with but cannot bear to throw away.  However I had some fusible seam tape, already in narrow strips, so I used this.  I would have liked to see Wendy draw attention to the need to identify which is the fusible side of the tape because I have heard even seasoned dressmakers bemoan the fact that they put the tape on with the wrong side facing up so it stuck to the iron or press cloth and not the dress fabric.  Be warned, check and double check and, if in doubt about which is the side to go face down on the fabric, test a tiny bit on a waste fabric scrap.  Below is my seam tape in position ready to be fused.

And here is the seam tape fused along the front and a view of the back seam finished with bias binding.

I followed the making up steps as described up to and including step 9.  Then I decided to insert the zip (Step 11) before setting in the sleeves.  Unfortunately step 11 refers to positioning the zip stopper level with a notch.  This notch should have been marked on the pattern sheet but, as I discovered, it was left off.  I checked and checked the pattern sheet and re-read the instructions and then just guessed where it should go- not that hard.  The right hand side of the open-ended zip needs to be pinned and tacked  to hold it in the correct position for sewing.

Then, using a zipper foot, sew the zip in position close to the zipper teeth so that, when you flip the seam allowance over, your zip teeth just extend beyond the jacket edge.

I then went to step 12 and finished the jacket fronts with bias binding.  This covers the edge of the zip on the right hand side of the jacket enclosing the raw edge that you see to your right in the picture below.  Wendy's technique instructions for attaching bias binding as a facing  instructs the reader  as the final step to stitch the binding to the wrong side of the garment by machining.  This gives the effect of topstitching.  However I did not want the look of topstitching so laboriously hand picked all the facings and hems.   Next time I think I will topstitch!

Then I jumped to step 16, attaching the left side of the zip.  This is because I felt that I could better ensure that I could get the bottom hem of the jacket level by doing the hem after inserting the rest of the zip fastening.     One of the problems with inserting a zip is getting around the zip stopper while maintaining a straight line.  I  open the zip partly and sew up to a point before the zip stopper.

 Then, making sure that the needle is down in the fabric, I raise the zipper foot and pivot the fabric 90 degrees. 

With a bit of tugging I can then pull the zipper closed up to a point past which I have already stitched- sometimes, depending on your machine, you can remove the zipper foot, close the zipper and replace the foot.  Pivot the fabric back to the start position, lower the presser foot and off you go, continuing your stitching from where you left off.

Jumping back to step 10 in the order of work I set in the sleeves.  I always have difficulty with the fit of sleeves so I was very pleasantly surprised to find they fitted reasonably well for me.  I  might add a sleeve roll as my shoulders are a bit narrow  and I am distinctly lacking in biceps so the sleeve needs to be narrower  But I can live with it as it is.

Finally I hemmed the bottom of the jacket and the sleeves.  I wanted to conceal the loose top end of the left side of the zip.  I toyed with the idea of a button but eventually made a knot from a tube of the jacket fabric and sewed it in place.

 Here you can see how the bias binding finish looks on the inside of the lapels.

 My verdict, yes, a beginner could do it on their own by paying close attention to the instructions.  I was lucky to get a reasonable fit with only a simple alteration and I would be interested to hear how the fit worked for other people.

Wendy encourages the reader to experiment and develop their own take on the garment and I have certainly been inspired  to do another version of this jacket.  Also, in view of the lack of fitting difficulty encountered with the jacket, I may well have a go at the shift dress, graded as the most complex of the patterns and see how that would work for a beginner.  I have some of this fabric left, not enough for a complete dress, so I  will be looking for another fabric to use with it and how best to use the two together.

Using stay tape at the waist

I blogged about bias tape last time.

I've since come across a technique that re-inforces the waistline to keep it from distorting. Using tape at the waist looks very interesting and it isn't complicated at all. In short it's the sort of thing I really like!

Re-inforcing any area with tape (or ribbon) makes use of said tape as something referred to as 'stay tape'.  The area "stays" in shape, so I suppse it's easy to remember.

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Good old Sewaholics put me onto the concept:

A Different Kind of Waist Stay

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Gertie from her Blog for Better Sewing has more about the whole thing:

The Wild World of Stay Tape

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It even turns out that Claire Shaeffer describes it as a couture technique in her book of the same name, I even think I have this book:

Couture Sewing

Sewing the tape onto a foundation layer is a whole different kettle of fish that I want to explore at some future point.


Have you used either bias or stay tape?  How did it go?  Please post some photos of your projects, either as works in progress (yes please!) or completed projects, in the appropriate photo album on the Meetup site.

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Bias tape on

This is a really good demonstration on how to use store bought bias tape to finish off raw arm hole edges:

Sewaholic's 'Finishing of armholes with bias tape'

It makes a lot of sense to use tape cut on the bias because it smooths itself around curves a lot more than tape cut on the grain would ever do, even if you were to iron it to within an inch of its life - straight grain tape would still pucker and misbehave.

I bought this kind of bias tape in a few colours, the one that is folded in at both edges - and I never knew what to do with it because it seemed to me that you would want it folded over just once with the crease running down the very centre.  I think I was thinking of using the tape as binding rather than as a facing.  Aha!

This makes a lot more sense.  Very glad I found this blog post.

Jaycotts.co.uk is a good site to get your supplies from

What kinds of projects have you used bias tape for?  Do you use it like a facing (on the inside of the garment) or like binding (visible on the outside of the garment too).

Please post in the comments, and better yet!  Why not do a short blog post about your project and show us how you used bias tape?  We would love to see!

Let's bring this blog to life again - now that summer and the holidays are over.

Looking forward to hearing from you!

A short one, two links

As promised in the headline, I quickly just wanted to share two links.

I came across this interesting web page where a few pattern making and couture techniques are explained. For example, just click on "pattern making techniques" and you'll see three articles about sleeves. http://thecuttingclass.com/post/3599880487/patternmaking-cut-and-spread-darts. I could spend hours and hours looking for inspiration ...

And I wanted to share my favourite link about pockets, those little gems I need to remember when cutting my fabric:
http://www.behind-the-hedgerow.com/2013/06/04/top-10-awesome-pockets-and-a-few-tutorials/. And, of course, the hint to our current sewalong: http://www.meetup.com/dressmakers/events/207867752/

See you

Paris- Art, Architecture & Amour OR Fashion, Fabric & Food

Well, which would you go for?  To tell the truth you can do all six.  I was in Paris for a few days recently to visit an old Parisian friend, to catch up with some Canadian relatives while they were traveling in Europe (I love them dearly so there is the Amour) and to enjoy myself generally.
While I was there I went to a current exhibition," Paris 1900" at the Petit Palais, appropriately built for the 1900 Exposition Universelle-(Architecture), in which, according to the publicity "Over 600 works will plunge visitors to the Petit Palais into the atmosphere of Belle Époque Paris. There will be paintings, objets d’art, costumes, posters, photographs, films, furniture, jewellery and sculptures"- (Art).  It evoked a sparkly atmosphere of sophistication, luxury and change- ignoring the less fortunate of the time.  But what you want is the Fashion!
Look at the hours of work that must have been necessary to create this jacket. 

Clothes like these really were only for the rich. Even a day dress had much in the way of pin-tucks, insertions and frills to be sewn by some poor seamstress.

And you needed a maid to get into it as it is fastened down the back with buttons and hooks and eyes.

Even elegant footwear must have been a struggle to get on unaided.

And as for evening wear-  this dress is believed to have been designed by Worth, one of the most famous designers of the time, for a rich American client. 

However this exhibition closes on 17 August 2014.  Luckily you have until 2 November 2014 to get to  the Palais Galleriathe  and the exhibition  on French Couture in the 1950's.  Unfortunately absolutely no photography was allowed at this exhibition but you will see some images on another blog here.  This blog seems to indicate that it is only Christian Dior garments but it includes over 100 items from many different couturiers including Gres, Balenciaga, Cardin, Vionnet, Chanel, Schiaparelli, Piguet and many more.  It included both day and evening wear, swimwear, lingerie plus hats and other accessories.  Well worth a visit and I would have loved to get the hefty hard back catalogue but it was almost 45 Euros.

And I was saving my money for the next item- Fabric.  If you have never been then I can assure you that all you have heard about fabric shopping around Sacre Coeur is true.  And not just fabric but haberdashery of all sorts as well.  If you are going by Metro then the nearest is Anvers and the shops are concentrated in the area between that Metro and the steps leading to Sacre Coeur.  Look out for Rue d'Orsel, Place St Pierre, Rue Seveste, and Rue Charles Nodier.  Some retailers have several outlets so you come across stores with the same name "Au Bonheur des Dames", or  "Au Gentleman des Tissus" for example.  Just wander and rummage.  The most tempting are the "Coupons", lengths of fabric cut into 3 metre lengths and piled high inside and outside the shops.  You can also buy fabric by the metre, it ranges from the very cheap (and rather nasty) to the absolutely exquisite ex-haute couture and everything in between.  Furnishing fabrics are also sold.

Shops are open Monday to Saturday, usually from 9.30 to 19.00 but some do not open until the afternoon on a Monday.  The staff are usually knowledgeable and helpful.  Below is the lovely Sabrina, at one of the branches of "Au Gentleman des Tissus",  who eagerly asked me about fabric shopping in London.  I am about to buy the black and white striped cotton laid on top of the other fabrics near the counter: 3 metres of 148 cm wide for 10 Euros.  I eventually came away from the area with another 2 pieces of 3 metres each, for 5 and 10 Euros, making a grand total of 25 Euros for 9 metres of fabric.

There are several shops devoted exclusively to haberdashery with a fantastic range of colours in items such as zips and lashings of trimmings of all sorts.

 

Several shops also sell leather

And now for Food as after all that shopping I wanted a quiet and restful spot for a pot of tea so I went to my favourite place for afternoon tea and cake.

  Musee Jacquemart-Andre, 158 boulevard Hausmann- a fabulous mansion house, now a museum filled with works of art collected to decorate this home of a very wealthy 19th century husband and wife.  It is open every day of the year and, although you have to pay to go around the museum, entry to the cafe is free.  The cafe is a work of art itself with a ceiling by Tiepolo and Flemish tapestries based on the story of the Greek warrior, Achilles.

It is very peaceful ( I suspect people do not realise it is there and you can just go in the cafe without going to the museum) and I can imagine myself as a wealthy guest of the previous owners, choosing which type of tea I shall have from the varieties on offer, note that they do other drinks as well but tea has a sort of old-fashioned graciousness that goes better with the decor.  Oh, and the food- really you should go in two's because the cakes are so huge and rich and it is better for one's diet to share one.  However I did manage to consume all of this pile of deliciousness.  It's a massive pistachio macaroon cake filled with pistachio cream and the hugest raspberries I've ever seen.  I'm afraid I'd eaten a fair bit of it before I thought to take a picture But I think there is enough to give you the idea.