IN iPr Zes try This!

StiTched
W0 Iw ng FesTive Hoop
Se
£20

FRESH IDE BRIC ISSUE FORTY NINE

WP ERN
E is
T& ES

+
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Ad sleevoeast!
make a c

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 FRESH IDEAS WITH FABRIC

When families get together for the holidays it’s

all about sharing meals, playing board games
and singing Christmas songs (badly), right?
Make this year even more memorable with
handcrafted homewares, gifts and kitchen
accessories − your friends will be so impressed
when you say “I made that!” Stash-bust your
festive fabrics, embellish your Christmas
jumpers and deck your halls with handmade
fabric baubles…because it’s time for the most
joyous season of the year, and we can’t wait.
 i
Em sual f 65
unure , p
w

ISSUE FORTY NINE

FRESH IDEAS WITH FABRIC CONTENTS

ew he
and dre Elo se coat
ss , p
30

P18
STYLISH
CHRISTMAS

grEat pAtterNs foR you how To...

18 CHRISTMAS KITCHEN 55 WRAPPED BACK STITCH: HOOP
30 PATTERN: THE ELOISE SET Learn the embroidery stitch and make
36 PATTERN: SADE BLOUSE a Christmas hoop sampler
40 TRANSFORM: T-SHIRT DRESS 63 RAG RUGGING: FLORAL DISPLAY
49 BAG: MINI SATCHEL Create a stunning table
53 TRANSFORM: XMAS JUMPER centrepiece using this
57 FOLD-UP TOTE SHOPPER traditional technique
61 PRETTY SWAN CUSHION 93 SEWING GUIDE
65 EMBROIDERED XMAS WREATH Tips, techniques and
75 BEGINNER'S DIAMOND QUILT a glossary
77 FABRIC ORIGAMI BAUBLES
81 EASY-SEW FELT ADVENT
84 SNOWMAN TOY

itch a
y w
68 GGet iNs
NsppirEd to
to give lampSh
Shaade
MMakinG and uphoLsterY a tRy!
Chr esi
s gi p8
4
 Take The pLunge
Trying new things
can be scary, but it
always feels good
afterwards, right?
This issue we've

75 got a few new (neveer before

featured!) ideas for you to try.
Rag rug a vase of hydrangeas
(p63), embroider an unusual
hoop wreath (p65) and get the
low-down on coat-making from
the experts (p44). If you've
never made a coat before, you'll
63 find the sleeved-version from
The Eloise Set is a wonderful
overcoat for beginners − no big

61 zips! This, and the Sade Blouse

from Named
my list.
li t Wh
d are at the top of
Whatt's on yours??
to win!
SewIng MacHine bag, Charlie Moorby,
Moorby Editor

SheArs + FabRics BunDlE!

Your chance to win £120 worth of gorgeous
g g
new sewing goodies from Groves.
Turn to p14

goOd readS & ideaS

9 PINBOARD: Ideas, events, new fabric
14 WIN: £200 WORTH OF GOODIES
34 COLUMN: NAMED PATTERNS
44 FEATURE: COAT-MAKING SPECIAL
68 PROFILE: JOANNA HEPTINSTALL
80 PIN UP: PATCHWORK BAUBLES
97 COMING UP NEXT MONTH
98 MY FAVOURITE THING
* PAPER GIFTS ONLY AVAILABLE ON UK NEWSSTAND.

GREAT SUBS
OFFERS! P16
SAVE TIME,
MONEY AND

53 40
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by NamEd

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AN ANNUAL
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NEW SKILLS: Fabric origami Quilting 3D flowers App iqué Coat-making tips
SUBSCRIPTION
 CONTRIBUTORS
Cheers to this clever bunch of makers... FRESH IDEAS WITH FABRIC

EDITOR Charlie Moorby

SENIOR ART EDITOR Lisa Jones
PRODUCTION EDITOR Michelle Grady
TECHNICAL EDITOR Roisin McKenna
DIGITAL EDITOR Zoe Williams
PHOTOGRAPHY Philip Sowels and Dave Caudery
PHOTOGRAPHY SADE BLOUSE Arto Markkanen

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
to
te r fa b r ic s are lovelysew.” “Pleated skirts are on my style HEAD OF NEWSTRADE MARKETING Natalie Shearer
“Win re to radar, and are quick to make!”
d a pleasu NEWSTRADE MARKETING MANAGER Helen Seymour
look at, an
Paul Torre, Karen Flannigan

SAARA AND LAURA HUHTA ELISALEX DE CASTRO PEAKE U

Helsinki-based sisters Saara and Laura set up Elisalex is the co-founder of indie pattern label By JUNIOR PRODUCTION COORDINATOR Lily Owens Crossman
their pattern brand, Named, in 2013, with designs Hand London. Their patterns are inspired by and PRODUCTION MANAGER Sîan Rodgers / Emma McGuinness
PRODUCTION DIRECTOR Sarah Powell
inspired by Scandi simplicity. Discover Laura’s named after the stylish ladies they admire, and
winter sewing plans on page 34, and make The ofer a new take on classic designs. Add a pleated
Sade Blouse from their new book on page 36. skirt to a T-shirt with her refashion on page 40. DIRECTOR OF INTERNATIONAL LICENSING
& SYNDICATION MANAGER
Tim Hudson [email protected]
INTERNATIONAL PARTNERS MANAGER
Anna Brown [email protected]

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

“Upholstery is a specialist skill “We make our classes relax

ed
EDITORIAL TEAM
[email protected]
that’s becoming sought-after.” and full of gossip and gig
gles!” SUBSCRIPTIONS TEAM
[email protected]
03330 162 149

JOANNA HEPTINSTALL THE STITCH SISTERS

Talented upholsterer, lampshade-maker and Rachel and Nikki, aka The Stitch Sisters, are the
author Joanna Heptinstall teaches workshops founders of Sodbury Sewing School, where they THURSDAY 29TH NOVEMBER 2018
at the Traditional Upholstery School, which she teach a variety of home sewing, quilting and No gift included? Ask your newsagent.
founded in 2016. Find out why she’s on a mission dressmaking workshops. Dive into your irst coat Covergift may be unavailable overseas.
to pass on her heritage craft skills on page 68. project with their coat-making tips on page 44.

OTHER CONTRIBUTORS
Anna Alicia, Christiane Bellstedt Myers, Jo Carter, Michael Caputo, Sarah Dawson, Jessica Entwistle,
The Fold Line, Sarah Gane, Debbie Von Grabler-Crozier, Ebony Haight, Kirsty Hartley, Elspeth Jackson,
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 for your chance to WIN!
We have £600 worth of Amazon vouchers up
We’re giving for grabs, so get voting for your crafting
away a total of favourites right now! Whether it’s a product you
couldn’t live without, a local retailer that always
£600 Amazon goes the extra mile, a talented designer who
vouchers!* inspires you with stunning projects, a must-read
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see www.britishcraftawards.com for full T&Cs and more information.
 IDEAS INSPIRATION ACCESSORIES WEBSITES EVENTS STUFF

MAGIC MAKING
The long, dark, magical winter nights are the inspiration behind the two bewitching new patterns from Deer and
Doe. Magnolia is our statement winter frock of dreams with a plunging neckline and floaty skirt, while the Opium
swing coat has us shopping for luxurious wools and silky linings. Find the patterns at www.deer-and-doe.com

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

 ALLISCALM
WShopping, cooking,
sewing, party-going
– Christmas can be a
whirlwind of activity,
often with little time
to actually enjoy it! So
rediscover that fun
festive feeling with
Mindful Christmas
magazine. It’s filled
with ways to reinvent
your holiday season,
from thoughtful gift
ideas and tips for
stress-free Christmas
shopping, to how to
wrap your pressies
sustainably and quick
craft projects that’ll
leave you time for
a mulled wine (or
two). £7.99, www.
buysubscriptions.
com/mindfulxmas
PUMPKIN SPICE
TaiLor Made
Level up your sewing skills with some classic
As much as we love drapey summer
fabrics, nothing quite beats getting all
the soft knits out of our stash ready for
some snuggly sewing! And first on our
tailoring courtesy of Cashmerette’s timeless to-make list is CocoWawa Craft's new
Chilton Trench Coat pattern. With so many Pumpkin cardigan and dress. This cute-
construction techniques involved to add to and-cosy cover-up is just the thing for
your repertoire, this fully lined coat is fun to pumpkin-spice season, and includes
different neckline, ruffle, trim and
make (and to show off to your sewing pals!). sleeve details to mix and match. PDF
Get the pattern at www.cashmerette.com £10, www.cocowawacrafts.com

PAINTERLY
POSIES
If we were to picture our dream winter
fabric collection, it would look a little
something like this! Atelier Brunette's
latest range includes three swoon-worthy
prints in five colourways: Posie, Shine and
Tabby. Never ones to say no to a floral,
we're head over heels for Posie, a modern,
painterly design on soft dobby-textured
viscose, in two shades: Posie Blue, with
coral, white and pink on a navy base, and
Posie Green, with teal and blush on white,
both featuring a golden rust hue that's
everywhere on the high street. We love
the abstract Tabby and Shine prints too, Say bonjour to French brand
ideal for blouses like Named's Sade top Atelier Brunette's beautiful
(p36). Visit www.atelierbrunette.com new wintery viscose prints.

10 WWW.SIMPLYSEWINGMAG.COM
 Pinboard

A BEGINNER'S GUIDE TO
BAG MAKING
Estelle Zanatta and
Marion Grandamme
(£12.99, Search Press)
You'll never need to buy
a bag again with this book of 20 classic bag
styles to make, from simple-sew totes and
shoppers to duffel and bucket bags – and
even a Chanel-style design! Along the way
you'll learn all the key bag-making skills for
a neat finish, including adding the handles,
lining and pockets. www.searchpress.com

WELCOME TO WEAVING:
THE MODERN GUIDE
Lindsey Campbell (£21.99,
Schiffer Publishing)
dress.” We’re glad we’re not the only ones! Lindsey Campbell, the
mini profile New releases are tested thoroughly to make weaver behind popular
sure they’re perfect. “We believe in wearing blog Hello Hydrangea, has
MAVEN PATTERNS them, testing them, developing them for as
long as possible so we know we have done
filled this book with 50 techniques and 20
stylish projects for weavers of all abilities. It
It’s the special, one-off details that make us fall everything we can to ensure the pattern is as takes you through the whole process, from
in love with a pattern, and the Maven Patterns useful and beautiful for our customers as it making your own simple loom and the basic
collection is full of them! From the Kitty Dress' possibly can be.” It’s something we can all terms, to more advanced weaving projects
unique bust darts and the funnel neckline of adopt for our own projects, too. “Toile, toile to grow your skills. www.schifferbooks.com
the French Dart Shift (a customer favourite, and toile again,” Mrs M recommends. “I know
says Mrs Maven, also known as Mrs M: “she’s it can be tedious. However, it will make the
so versatile”), to the Rochester's gathered high world of difference to your finished garment. GARDEN STITCH LIFE
neckline (so on-trend right now), there's sure It will give you the opportunity to really get to Kazuko Aoki (£16, Zakka
to be something that'll catch your eye. grips with the fit and the end result will be so Workshop)
Having worked in pattern cutting for the worth it." She’s passionate about spreading Nurture your stitching
high street, Mrs M says she's “not interested in the word on the many benefits of sewing your passion with this book of
going back to producing garments just for the own. “One of the joys of making clothes is the charming garden-themed
sake of it. I’m happier enjoying the process chance it gives you to get to know your own designs by embroidery artist Kazuko Aoki. In
and releasing fewer styles with longevity in body and the independence that fosters, addition to dozens of botanical motifs, there
mind.” Ideas for new pattern designs are most knowing you can be in charge of how you are also embroideries inspired by a few of
often sparked by what she needs in her own look. Hence why we are called Maven, which Kazuko's favourite things – food, travel and
wardrobe – in fact, it’s what led her to launch means expert in a particular field. Everyone design – with projects including samplers
her brand in 2013. “I was working in a bridal can be an expert in how they want to look and and table linens. www.zakkaworkshop.com
store and I needed a work outfit that was both feel – we just have to take charge of it!”
professional and practical; something that See more at www.mavenpatterns.co.uk
would allow me to reach high stock and get FREESPIRIT BLOCK
on the floor to faff with hems, which is how PARTY
the French Dart Shift dress came about. It just Freespirit Fabrics (£23.99,
took a further two years to learn how to Stash Books)
digitise the patterns and get going!” What happens when 20 of
She’s something of a magpie with styles, your favourite designers
finishes and construction details. “Inspiration are challenged to create a modern twist on
literally comes from everywhere, every day. classic blocks? A must-have book filled with
Sometimes it can be the smallest details or stunning contemporary patchwork designs,
techniques that can trigger an idea. I grew up that's what! With 40 mix-and-match quilt
watching a lot of old films from the 1950s and "Toile, toile and toile again. It blocks from 20 designers working with their
60s, so these have influenced my style. And will make the world of difference own fabrics, the book features paper-pieced,
I have been known to follow people around to your finished garment." appliqué and patchwork blocks for you to
supermarkets to get a better look at their get creative with. www.ctpub.com

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 11

Pinboard
AFINEFINISH
WIt’s so satisfying
when the inside of
our project is as
beautifully finished
as the outside, so we
keep our habby stash
stocked with pretty
bias bindings for
professional raw-
edge finishes – and
Atelier Brunette’s are
about as pretty as
they come! Available
in a variety of prints
from the main fabric
range, they’re just the
thing for finishing off
necklines, armholes,
hems, or even the
seams on a special
garment – like this
issue’s Eloise Set
pattern on page 30!
50p per half-metre,
available at www.
drapersdaughter.com
MAKEASTATEMENT
Proudly wear your hobby on your tee,
sweatshirt or tote with this collection of

UniQue you
craft-themed clothing by SewandSo.
Featuring sassy slogans such as ‘Stitch
goddess’, ‘Eat sleep stitch repeat’ and
The best thing about sewing? Creating one-off garments we ‘I stitch therefore I am’ all printed onto
know no one else in the world will have, of course! So I AM certified organic cotton tees, bags and
Patterns has chosen a rather apt title for its new collection: cosy sweatshirts and hoodies, we want
I Am Unique. Included are three designs to make your own to collect the lot! What better thing to
– the Luna blouse with a cute button-up back detail, the wear while we sew? They’d be a fab gift
versatile Gaia cami, and the feminine tiered Magdala top for anyone who loves stitching (hint,
and boho dress. £15 each from www.backstitch.co.uk hint). From £35, www.sewandso.com

3 of the best
CHECK MATE
Heritage tweeds might be a trend right now,
but you'll keep this timeless print for years.

1. This classic wool coat is work-ready, but will

smarten up a jeans-and-a-jumper combo at the
weekend, too. £99, www.marksandspencer.com

2. Not ready to wear head-to-toe tweed? Tip your

hat to the trend (literally!) with a stylish trilby by
Becksondergaard. £27, www.printerandtailor.com

3. Give your home a country-house vibe with this

cosy pure wool throw blanket in a fishbone check
design – it's one of a selection from the National
Trust made in the UK by Tweedmill, based in Flint.
£35 from shop.nationaltrust.org.uk

12 WWW.SIMPLYSEWINGMAG.COM
 Pinboard

Dark blooms
Step over to the dark side
with moody floral fabrics for
statement winter makes.

PATTERN PLAYTIME
Oh, how we love a pattern that we can make BOHO BLOSSOMS
again and again, and again, and again! Eloise Bright-hued blossoms really stand out on
is a deceptively simple number with infinite this beautiful black cotton lawn. £8 per
variations – make it as a swishy frilled maxi, half metre from www.sewoverit.co.uk
a cocktail frock, add statement bell sleeves,
or no sleeves. And, with no zip fastening, GARDEN PARTY
you’ll have your chosen combo sewn in no Stroll through
time! PDF £9.50, www.byhandlondon.com a herb garden with
this charming Rifle
Paper Co botantical
print, on canvas or

out & about quilting cotton.

www.cottonand

coUture kits
Former Liberty of London and Emilio
SKILLS, SHOWS EXOTIC FLIGHT
steelfabrics.com

Pucci designer Louise Scott-Smith is

taking an inventive approach to getting
us all creating special pieces for our
& EVENTS Paradise birds flit
from branch to
blooms on this silky
wardrobes with her fashion-forward, 22-25 NOVEMBER polyester satin,
cut-and-sew A Printed Wardrobe kits. The Knitting & Stitching Show. Harrogate perfect for party
They feature dresses, tops and skirts International Centre. Stock up on supplies frocks. £6.49 per
pre-printed onto fabric ready for you to and learn new skills at this inspiring show. half metre, www.
sew, in quirky trompe l’oeil prints with www.theknittingandstitchingshow.com sewingquarter.com
trims, braids and even printed stitching;
just cut them out and stitch, adjusting 25-26 NOVEMBER BUSY AND BOLD
for the perfect fit as you go. Simple! Kits Crafted. Castle Ward. Soak up the festive There's a lot going
£95 from www.aprintedwardrobe.com atmosphere at a Christmas craft fair at Castle on in this detailed
Ward, an 18th-Century Georgian mansion floral – and we love
and stableyard. www.nationaltrust.org.uk it! Available in knit
or cotton, from the
1 DECEMBER Silkroad Fusion
Crafty Fox Market. Mercato Metropolitano, range at www.art
London. Get your Christmas shopping sorted galleryfabrics.com
with handmade gifts for all the family (and
maybe a few for you, too!) at this monthly LITTLE LEAVES
market. www.craftyfoxmarket.co.uk This ditsy small-
scale print packs
UNTIL 12 MAY 2019 a big punch with its
Anni Albers. Tate Modern, London. Discover autumnal purple,
Remember paper dolls? Now we textile artist Anni Albers with this major red and green hues.
have our own version with retrospective of her thought-provoking From the Kimono
these cut-and-sew kits! woven artwork. www.tate.org.uk collection at www.
makoweruk.com

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 13

comp titions

creations at
korbond TOTES
Your chance to win a set of 5 gorgeous
storage bags, totes and boxes from
Creations at Korbond, worth over £80!
he Creations at Korbond range of craft storage designs
are so stylish, you’d be forgiven for thinking they were
from a designer interiors store! From structured wool
felt storage bags with rustic wooden handles, to portable
knitting needle wraps and vintage-style wooden sewing
boxes, there’s something for every creative hobby. One
lucky reader will win a complete set comprising of the
following: Felt Craft Bag, Textured Inlay Square Sewing

O M PLE TE Box, Round Sewing Box, Crafters Mini Carry Away and
C r th
Kitting Wrap. Even if you don’t make use of all these

w
SET £80o gorgeous designs to store your sewing stash − imagine
what wonderful gifts they’d make for your creative pals.

over
That’s your Christmas gifts sorted! To be in with a chance
of winning the whole set enter today at www.simply
sewingmag.com, or view the full storage range at
www.dunelm.com/search/creations+korbond

total
prize v
alue
Groves sewing worth
£120!

machine bag
Enter to win a machine bag,
fabric and essential pinking
shears from Groves.
eeping your sewing machine clean and dust-free is
a must for ensuring it performs at its very best! This
sewing machine bag, with its exclusive-to-Groves
hexagon print, is just the thing! Plus, you’ll delight at
being able to carry your machine to friends houses,
shows and workshops without having to worry about
screatching it. As well as this must-have bag, one lucky
winner will also win four Christmas themed fat quarter
fabric packs, and a pair of essential pinking shears. Enter
today at www.simplysewingmag.com, or to find your
nearest stockist email [email protected]

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

14 WWW.SIMPLYSEWINGMAG.COM
Simply better, because it’s yours.

INNOVATIOON
IS OUR PAS
SSION.
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p you with our
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GYKPI VQQNU
Visit us on www.prrym.com

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wi % d
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M e c un
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Y2 e
0

Modern Makes + Vintage Insspiration

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 christmas kitchen

home for Christmas

Make a coordinated kitchen set in whimsical winter
prints (and then get started on the mince pies!).

Designers: JESSICA ENTWISTLE Styling: LISA JONES Photography: PHILIP SOWELS & DAVE CAUDERY

18 WWW.SIMPLYSEWINGMAG.COM
SloGan BanNer
At this time of year, we don't need much of an excuse to
cosy up at home, but it's nice to have a reminder! This fun
slogan banner is great for using up precious fabric scraps
(not to mention honing your appliqué skills!) and can be
adapted to feature any seasonal message you like.

tea TowEls
If your New Year's resolution is to start sewing – or to teach
someone else – why not begin now with simple tea towels?
They're ideal for practicing pressing and hemming, and
are quick to make for last-minute gifts, too. Plus, there's
so many options for customising them, from stitching
embroidered motifs to adding contrast borders.
 christmas kitchen

Oven GloVes
The holiday season is all about two things: festivities
and food. So serve up the latter in style with me-made
oven mitts, with a layer of insulated wadding to protect
your own mitts – and then let the festivities begin!

tea Cosy
You never know when family and friends might pop
round for a cuppa, and you'll always be ready for a big
tea round with this cute cosy! It's made with insulated
wadding to keep your tea piping hot for longer, which
means less time running in and out of the kitchen, and
more time to beat your top score at charades…

WWW.SIMPLYSEWINGMAG.COM 21
 christmas kitchen

pot HolDer
Is there anything quite as pleasing to the eye as EPP
in your fave prints (well, apart from the sight of a just-
opened box of choccies, anyway)? If you're new to EPP,
or English Paper Piecing, this hexie holder is the perfect
place to start – preferrably in front of a movie marathon.

Half AprOn
Proving functional doesn't have to mean boring, this
vintage-inspired apron is just the thing for protecting
our me-mades from spillages, and has the sweetest frill
detail you ever did see. Plus, there's a little patch pocket
for stashing snacks – it's the cook's prerogative, right?

22 WWW.SIMPLYSEWINGMAG.COM
 Christmas kitchen
01 02

05 06

apron
YOU WILL NEED
CUTTING OUT
Step one From the main fabric cut:
Apron front: Cut one 50x72cm (19¾x283⁄8in).
(71⁄8in) out from the fold and make another mark.
Step four Repeat these steps for the
corresponding lining fabric piece. 01
QMain fabric: 112cmx1m (44inx11⁄8yd), Pocket: Cut two 14x14cm (5½x5½in). Step five Take the main fabric pocket pieces, place
for apron front, waistband and ties Waist tie front: Cut one 14x52cm (5½x20½in). them right sides (RS) together and pin in place.
QLining fabric: 112cmx1m (44inx11⁄8yd), Waist tie sides: Cut two 14x90cm (5½x35½in). Use a cup to mark the lower corners for a curved
for lining, frill and pocket trim Step two From the lining fabric cut: pocket. Sew together along the marked line, trim
QErasable fabric marker Apron lining: Cut one 50x72cm (19¾x283⁄8in). off the excess fabric and turn RS out through the
QMatching thread Pocket binding: Cut one 5x14cm (2x5½in). top opening. Press.
QBasic sewing kit Frill: Cut three 14x115cm (5½x45in). Step six Place the pocket binding centrally on top
of the pocket with RS together, aligning the raw
FABRICS USED MAKING THE APRON FRONT AND POCKET edges, and pin in place.
The fabrics used are from Snow Day by Step one Use a mixing bowl or dinner plate to Step seven Sew together and then press the strip
Lewis & Irene. Snow Day, Cream. Ref: draw a curve along the bottom left and right upwards and press the short edges into the WS by
C34.1. Sleigh Ride, White. Ref: C37.1. For corners of the main fabric front apron piece. Cut 1cm (3⁄8in). Fold the fabric strip over the pocket
stockists visit www.lewisandirene.com off the excess fabric outside of the curve. edge, tucking the long raw edge of the strip under
Step two Fold the front apron in half lengthways by 1cm (3⁄8in). Press and then topstitch in place. 02
NOTE with wrong sides (WS) together, so that the fold Step eight Work out where you would like the
QUse a 1cm (3⁄8in) seam allowance runs from top to bottom. Using an erasable fabric pocket to sit, then pin and sew it to the apron
unless otherwise stated. marker, mark the middle point of the folded edge front piece. 03
along the bottom of the fabric. Then measure
from the middle point along the bottom, around ADDING THE FRILL
the curve and up to the top edge of the fabric. Step one Take the three lining fabric frill pieces
Ours measures 82cm (323⁄8in). Divide this and sew them RS together along the short edges
measurement by three. Working outwards from to create a strip approx 330cm (130in) long. Press
the centre fold, measure 1⁄3 and 2⁄3 – approx 27cm the seams open.
(105⁄8in) and 54cm (21¼in) respectively in our case. Step two Now fold the frill WS together
Step three Along the top edge of the apron, mark lengthways and press. Mark the middle point on
the folded central point, and then measure 18cm the strip. Then mark 1⁄3 away, and then 2⁄3 away

24 WWW.SIMPLYSEWINGMAG.COM
 christmas kitchen
03 04

07 08

from that point on each side. edges to create the waist tie. Fold it in half
Step three Using the longest stitch on your lengthways with RS together and press.
machine and leaving long tails of thread, sew two Step two Sew the strip together from each seam
lines of gathering stitches within the 1cm (3⁄8in) out to the edges, sewing the ends into a point.
seam allowance along the raw edges of the frill The central section should remain unsewn.
strip. It is easier to start sewing from the middle Step three Clip the corners, turn RS out and press.
point out to one edge then sew another two rows Step four Turn the long raw edges of the middle
of stitches from the middle out to the other long waistband section in to the WS by 1cm (3⁄8in) and
edge (so you gather one half at a time). press. Mark the middle point of the waistband to
Step four Tie off the threads from the middle then make it easier to join to the apron. 07
pull the two bobbin threads from one edge,
slowly gathering the frill strip. Use the marked ADDING THE WAISTBAND
points on the bottom of the apron front as Step one Sew two lines of gathering stitches
a reference so the frill marked points line up. Leave within the seam allowance along the top of the
the ends of the frill trim ungathered so they are apron (not including the frill). Gather the threads
smoother when attached to the waistband. 04 as before so that the apron top sits within the
Step five Once both sides are gathered, sew a line waistband with marks matching. Staystitch the
of stay stitching along the frill edge to hold. gathers as before.
Step six Pin the frill to the apron front, matching Step two Open up the folded edge of the front of
the marked points and using lots of pins. 05 the waistband and pin it RS together to the apron
Step seven Staystitch the frill in place. Press and front, matching the middle points. 08
then pin the apron front and lining RS together, Step three Sew together along the crease of the
matching marked points. 06 fold, sewing until you reach the centre of the frill at
Step eight Sew together and then turn RS out either end.
through the apron top. Press. Step four Press the waistband up over the raw
apron edges then sandwich the apron between
MAKING THE WAISTBAND the waistband.
Step one Sew the two waist tie side strips to the Step five Pin and then either topstitch or
waist tie front strip RS together along the short hand-stitch the waistband closed.

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

 Christmas kitchen
01 02

03 04

banner
YOU WILL NEED
CUTTING OUT
Step one From Fabric A cut:
Banner front and back: Cut two 32x23cm
Step two Pin each casing strip centrally to both the
top and bottom edges of the banner back piece,
aligning all raw edges. Staystitch in place. 03
Q Fabric A: 35x65cm (14x26in), for the (125⁄8x9¼in).
front, back and casing Dowel casing: Cut two 14x17cm (5½x6¾in). ASSEMBLING THE BANNER
Q Fabric B: 8x115cm (3x45in), for the Step two From Fabric B cut: Step one Lay the banner WS up, place the
binding and appliqué Binding: Cut two strips 4x80cm (15⁄8x31½in). wadding piece on top, then the appliqué front
Q Wadding: 23x32cm (9x13in) Step three Join the binding strips together to right side (RS) up on top to create a sandwich.
Q Dowel pole: two lengths of 12mm make a strip 160cm (63in) long. Staystitch around the outside edge.
(½in) wide x 30cm (12in) Step four Press Bondaweb onto the wrong side Step two Sew the binding strip to the banner RS
Q Bondaweb: 14x16cm (6x7in) (WS) of the remaining Fabric B. together along the bottom edge. Begin sewing
Q Paper, for the template Step five Make a mirror image of the template on 10cm (4in) in from the end of the binding. Stop
Q Stranded cotton in dark grey pattern paper. Place Bondaweb onto the mirror 1cm (3⁄8in) from the first corner and backstitch,
Q Erasable fabric marker image and trace the letters. Cut out the shapes. then remove from the machine.
Q Basic sewing kit Step three Fold the binding up at an angle where
ADDING THE APPLIQUÉ the stitching ends. Fold the binding back down
FABRICS USED Step one Transfer the template onto the banner the next side. Start sewing from the top edge, sew
The fabrics used are from Snow Day by front piece using an erasable fabric marker. Peel over the folded corner and down the next side.
Lewis & Irene. Sleigh Ride on White off the backing paper from your Bondawebbed Step four Repeat until you reach the start of the
C37.1. Scattered Snowmen on Grey fabric and press the letters onto the fabric. Redraw sewn-on binding. Stop sewing 10cm (4in) from the
C35.2. For stockists visit www. any embroidery lines necessary. end of the binding. Mark the point where the
lewisandirene.com Step two Topstitch around the appliqué edges. 01 binding strips meet with an erasable fabric marker
Step three Embroider ‘stay’ in chain stitch using and then sew the strips together, using the marks
NOTES three strands of grey stranded cotton. 02 as a guide. Trim away the excess binding and
Q Use a 1cm (3⁄8in) seam allowance. finger press the seam open. Sew the remaining
Q You may need more of Fabric A to ADDING THE DOWEL CASING binding onto the banner.
embroider with a hoop. Step one Fold the short edges of the dowel casing Step five Press the binding strip to the back. Tuck
Q Download the templates from www. pieces to the WS by 1cm (3⁄8in). Press and then sew the raw edge under by 1cm (3⁄8in) and topstitch or
simplysewingmag.com/downloads in place. Fold in half again lengthways and press. slip stitch it by hand to the back. 04

26 WWW.SIMPLYSEWINGMAG.COM
 christmas kitchen
01 02

03 04

pot holder
YOU WILL NEED
CUTTING OUT
Step one Trace two templates – one large outer
hexagon, then another hexagon with all paper
ASSEMBLING THE POT HOLDER
Step one Remove the paper backing from the EPP
and then press.
Q Main fabric: six fabrics, approx markings. On the second template cut out all the Step two Place the pieced front WS up on your
24x6cm (9½x2½in) of each, for the individual sections along the drawn lines. work surface. Place the Insul-Bright shiny side
front Step two From the cotton wadding, cut one down on top, the cotton wadding on top, then
Q Backing fabric: 25x25cm (10x10in) slightly smaller than the large hexagon finally the backing fabric right side (RS) down to
Q Insul-Bright: 25x25cm (10x10in) template. create a sandwich. 03
Q Cotton wadding: 25x25cm (10x10in) Step three From the Insul-Bright, cut one slightly Step three Tack together and then whipstitch all
Q Paper for the template smaller than the large hexagon template. the way around the outer edge.
Q Fabric glue stick Step four From the backing fabric, cut one using
Q Erasable pen the first hexagon template, cutting 5mm (¼in) FINISHING OFF
Q Basic sewing kit outside of the template line. Step one Topstitch all the way around 5mm (¼in)
from the outer edge.
FABRICS USED PIECING THE HEXAGON FRONT Step two Quilt in your preferred design, then
The fabrics used are from Snow Day by Step one Work out your desired fabric placement remove the tacking threads to finish. 04
Lewis & Irene. For stockists visit for the hexagon front. Place each individual EPP
www.lewisandirene.com paper piece onto the wrong side (WS) of each
fabric piece and trim the fabric to 5mm (¼in)
NOTES outside the paper edge. Tack the fabric over the

TIP: give your

Q Download the templates from www. paper edge either by tacking it or using a glue
simplysewingmag.com/downloads stick as we have. 01
Q Our pot holder front is created by Step two Hand-sew the pieces together using
English Paper Piecing (EPP). a whipstitch. Start by sewing one of the small
s e s t a r ch to a fl a t,
Q Insul-Bright is an insulated lining trapezoids to the central hexagon. Only sew
U t ure f o r
used to protect your table and hands through the fabric and not the paper. 02
s t r u c ece.
from heat. It is recommended to use Step three Sew all pieces together then press. fabric ished E P P p i
cotton wadding as well as Insul- Step four Create a large EPP piece using the first
cr i s p fi n
Bright as it absorbs condensation. hexagon template and the backing piece. Press.

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

 Christmas kitchen
01 02

03 04

oven gloves
YOU WILL NEED
CUTTING OUT
Step one From Fabric A cut:
Mitt outer: Cut one 100x16cm (393⁄8x63⁄8in), then
piece on top, then a glove Insul-Bright piece
shiny-side up on top of that, and finally a Fabric A
glove front right side (RS) up on top. 01
Q Fabric A: 100x35cm (40x14in), for use the glove template to cut curved ends for Step two Draw vertical lines along the glove front
the outer both short edges. using an erasable fabric marker – our lines are
Q Fabric B: 100x50cm (40x20in), for Gloves: Cut two using the template. 2.5cm (1in) apart. Pin the fabric sandwich together
the lining, edging and binding Step two From Fabric B cut: then sew along the drawn lines with a longer
Q Insul-Bright: 100x35cm (40x14in) Mitt lining: Cut one 100x16cm (393⁄8x63⁄8in), stitch length. 02
Q Cotton wadding: 100x35cm then use the glove template to cut curved Step three Staystitch all the way around. Repeat
(40x14in) corners on the short edges. for the second glove.
Q Paper, for the template Gloves: Cut two using the template. Step four Take one of the glove edge binding
Q Erasable pen Glove edge binding: Cut two 4.5x16cm strips and pin it RS down along the top straight
Q Basic sewing kit (17⁄8x63⁄8in), and then cut enough 4.5cm (17⁄8in) edge of the quilted glove. Sew together with a
strips to create a binding strip 250cm (99in) 1cm (3⁄8in) seam allowance. 03
FABRICS USED long. Join the strips along the short edges. Step five Press the strip over to the back, folding it
The fabrics used are from Snow Day Step three From the Insul-Bright cut: over the mitt edge, tucking the strip raw edge
by Lewis & Irene. For stockists visit Mitt: Cut one 100x16cm, then use the glove under by 1cm (3⁄8in). Press and then topstitch.
www.lewisandirene.com template to cut curved corners on the short Step six Repeat to make the second glove.
edges.
NOTES Gloves: Cut two using the template. ASSEMBLING THE OVEN GLOVES
Q If you are fussy cutting your fabric Step four From the wadding cut: Step one Repeat the above steps to create and
you may need more. Mitt: Cut one 100x16cm, then use the glove quilt the long mitt main body sandwich.
Q Use a 1cm (3⁄8in) seam allowance. template to cut curved corners on the short Step two Take one of the gloves and place it RS up
Q A walking foot can be used to quilt edges. on top of the main body lining. Staystitch in place.
through multiple layers. Gloves: Cut two gloves using the template. Repeat for the second glove.
Q Download the templates from Step three Take the long binding strip and attach
www.simplysewingmag.com/ MAKING THE MITTS it all the way around the oven gloves. You may
downloads Step one Take a Fabric B glove lining piece and find it easier to use clips instead of pins when
place it wrong side (WS) up. Put a glove wadding topstitching to finish. 04

28 WWW.SIMPLYSEWINGMAG.COM
 christmas kitchen
01 02

03 04

tea cosy
YOU WILL NEED
CUTTING OUT
Step one From the outer fabric cut:
Main body: Trace a copy of the main template
Step three Pin then staystitch all the way around.
Step four Stitch in the ditch where the band joins
the main body. Repeat for the other outer pieces.
Q Outer fabric: 50x36cm (20x15in), for and cut 5cm (2in) off the lower edge and set this
the main body cut-off piece aside. Add a 1cm (3⁄8in) seam MAKING THE HANGING LOOP
Q Contrast fabric: 70x36cm (28x15in), allowance to the bottom long edge of the tea Step one Fold the hanging loop strip in half
for the lining, band and hanging cosy template and then cut out two main body lengthways wrong side (WS) together and press.
loop pieces using this new template. Open out and then fold the raw long edges in to
Q Insul-Bright: 60x36cm (24x15in) Step two From the contrast fabric cut: the middle crease. Press and then fold in half again
Q Cotton wadding: 60x36cm (24x15in) Lining: Cut two using the main template. to create a strip 1.5x12cm (5⁄8x4¾in). Topstitch
Q Paper, for the template Hanging loop: Cut one strip 6x12cm (23⁄8x4¾in). along both long sides.
Q Erasable pen Band: Add a 1cm (3⁄8in) seam allowance to the Step two Fold this into a loop and staystitch it to
Q Basic sewing kit top long edge of the strip cut you away from the curved top of one of the main body pieces. 02
the traced main template in the previous step.
FABRICS USED Use this template to cut out two pieces. MAKING YOUR LINING
The fabrics used are from Snow Day by Step three From the wadding cut: Step one Pin the two lining pieces RS together.
Lewis & Irene. Snow Day Houses, Icy Wadding: Cut two using the main template. Step two Mark a turning gap along one side, then
Blue. Ref: C36.2. Snow Fall, Icy Blue. Ref: Step four From the Insul-Bright: sew together all the way along the curved edge,
C38.1. For stockists visit www. Insul-Bright: Cut two using the main template. not including turning gap. 03
lewisandirene.com
MAKING THE COSY OUTER ASSEMBLING THE TEA COSY
NOTES Step one Take one outer fabric piece and pin the Step one Turn the cosy outer RS out and place it
Q Download the template from www. corresponding contrast band to the long edge. inside the cosy lining so the RS are facing and the
simplysewingmag.com/downloads Sew then press the seam open. Repeat for the bottom edges line up. Pin or clip together. 04
Q Use a 1cm (3⁄8in) seam allowance second main body and outer band pieces. Step two Sew together along the bottom edge.
unless otherwise stated. Step two Place the Insul-Bright shiny side down, Step three Turn RS out through the turning gap.
with a wadding piece on top, and then one of the Press the cosy so that the bottom edge seam is
assembled main body pieces on top of that with nice and flush and then slip stitch the turning gap
the right side (RS) up. 01 in the lining closed to finish.

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 29

 PSST: fabric and
e r l e a f fo r be
Tu r n o v n , a n d
n s p iratio
stylin g i
o u r fi nished
e to s h a re y a g ged
sur with u s t
s e S e t
Elo i
s ew i n g mag
#simply

30 WWW.SIMPLYSEWINGMAG.COM
 CovEr

WHILE STOCKS LAST

the eloise set

Update your outerwear collection with The Eloise Set
in UK sizes 6-20, a simple unlined design with a button
fastening that can be made as a coat or pinafore dress.

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 31

th ois s t
Along with making jeans, inserting invisible zips
and working with slippery fabrics, coat-making
is one of those scary sewing techniques that
actually isn't all that scary when you try it! And SIMPLE SEW
that's especially true of this issue's cover star, Is unlined for a
beginner-friendly
The Eloise Set – this simple unlined style is the coat project.
perfect first coat project, or a speedy sew for
an experienced stitcher. You'll master working
with coating fabrics, adding buttonholes and
buttons, inserting sleeves and attaching facings
for a neat finish. Plus, the pattern also includes
the option to make an easy-wear sleeveless
pinafore dress, too. So, here's to tackling those
not-so-scary sewing techniques, boosting our
dressmaking skills – and stitching a beautiful
new coat for our everyday wardrobe!

YOU WILL NEED TIMELESS

Q Main fabric: DESIGN
A classic style
Dress A: 115cm (45in) width x 4m (4½yd) for all with a double-
sizes breasted button-
up fastening.
Dress B: 115cm (45in) width x 3.7m (4yd) for all
sizes
Q Interfacing: (see pattern envelope notes) 90cm
width x 110cm for all sizes
Q Buttons: 25mm (1in) x 10
Q Large press studs: 10 (optional)
Q Small button: 10-15mm (3⁄8-5⁄8in)
Q Basic sewing kit

FABRIC SUGGESTIONS
Light to medium-weight suiting or wool.

GETTING STARTED
As this is an unlined design, keep in mind when
you are choosing fabric for this project that it
will be sitting against the skin. And, as coatings
and suitings can be a little more expensive, it's
advisable to make a toile before you start to test
the style and fit. Psst! For more coat-making tips TWO STYLES
from the pros, turn to our feature on page 44. Can be made as
unlined coat or
Make a pinafore dress.
sal
coat r ng-sleeve
a sle
pinafr eveless
e dress.

32 WWW.SIMPLYSEWINGMAG.COM
 Sew a modern update on a tweed
jacket in pink and raspberry
wear it with
shades, www.backstitch.co.uk

Black Wool Mix,

www.sewingquarter.com
More Is morE
Pile on the (stylish) layers with
jumbo knits and soft faux fur.
Try a colurful take
n the check trend ith
pink tartan, £15, www.
drothyperkins.com

Boiled Wool Forest,

www.backstitch.co.uk Top off your look with
a retro baker boy hat in
goes-with-everything
grey, £14, www.next.co.uk

Dogtooth Check Suiting,

www.minervacrafts.com

FABRIC INSPIRATION

cosy in colour
You can never have too
many chunky knits, so this
faux fur collar number is
coming home with us...
Who says outerwear has to be neutral? £18, www.primark.com

Play with texture, print and colour for

a statement coat or pinafore dress.

Smarten up your style

with drapey tailored
trousers in blush, £32,
www.next.co.uk
Mederia Mini Spot Tweed,
www.sewingquarter.com

Wool Mix Coffee Spot, When it comes to beating

www.backstitch.co.uk the winter chill, faux fur is
always a good idea! £22,
www.dorothyperkins.com

Dress up any utfit

ith a pair of heeled
shoe bots, £45 from
Get the linen look (without the creases!) www.wallis.co.uk
Textured Wool Blend, with this suiting, available in a rainbow
www.minervacrafts.com of hues from www.minervacrafts.com

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

MY SEWING
WORLD
By Laura Huhta
Named co-founder Laura shares why Go to p36 for
ap
winter is her favourite sewing season, and see mor roject from Named's bo
e at www.na o
from snuggly fabrics to quality coats. medclothing k,
.com
o be honest, I am a big fan of light and airy summer

T garments, the feeling of drapey fabrics against my

skin and vivid floral prints. I also absolutely love to
design summer clothing, especially all kinds of
heavenly sun dresses. Every year I make big plans
for my summer wardrobe, anxiously waiting for the
warm and sunny days, seeing myself enjoying the season
in my newly made garments! I absolutely love summer in
all possible ways – I simply live for it.
Despite all I just said, though, winter is still undisputedly
my favourite time to sew. It is, of course, partly due to the
weather – in the summer you are much more tempted to
stay outside and enjoy outdoor activities and the long
days with plenty of daylight (something that, I can tell you,
is unfortunately quite rare in Helsinki, where I live). But in
the winter when it’s cold outside – or even worse, wet and

"Winter fabrics are

slushy like it tends to be in Helsinki – nothing is more cosy
than to nest inside your sewing room, heat up a warm cup
of tea or (decaf) coffee, and just sew away nice and easy,
without any hurry or a need to be anywhere else. Probably lovely to look at and a
for that same reason, winter also happens to be the time
when I make an inventory of unfinished sewing projects real pleasure to sew."
and finally take the time to actually finish them.

COSY CREATIVITY
My enthusiasm towards winter sewing is also because of
winter fabrics – while all the flowy and drapey summer
fabrics are adorable and pretty, it is still a fact that they can
be quite a task to sew. Which I don’t mind once in a while,
but too much is too much! Meanwhile, winter fabrics are
not only lovely to look at, but also a real pleasure to sew.
Nothing beats the feeling of sewing soft or robust winter
fabrics. I feel blessed to live up north so I actually need
a lot of warm attire and have a great excuse to use them.
Which brings us to my absolute favourite type of
garment to make: a coat! Some consider coats a definite
no-no, but I dare to argue that these people might not
have tried to sew one. It is true that coats can be quite
laborious to make, with an interfacing, lining and buttons
and all, which might seem intimidating. But despite them
taking quite a bit of time to sew, they are one of the most
g my w ardr ob e with
I' ll be fillin for the cold.
ad es re ady
cosy me-m
34 WWW.SIMPLYSEWINGMAG.COM
 e
"Many coat fabrics ar
actually easy to sew, as they
are usually stable."

rewarding makes you could imagine, and,

surprisingly, ones that I think are quite easy to
succeed in! After you have taught yourself
how the coat lining process works, you will
know how to do that over and over again.
Many coat fabrics are actually easy to sew, as
they are usually stable, but at the same time soft and
easy to maneuver. The pieces are steady and simple to cut,
Gaia Coat Photo: Arto Markkanen

and to match and ease into other pieces. They are much
less likely to develop creases. You can even shape them
with steam, and create seams and shapes that look sharp
and clean, or soft and smooth. Also, it is just heavenly to
Coat-making is satisfying, not see all the raw edges, seam allowances and wrong sides of
intimidating! Boost your skills
with the Gaia Coat's unusual the fabric enclosed inside the lining and out of sight!
panels and classic tailoring. Since you will be sewing something that takes quite
a while to make, and that you will want to wear for years,
choose fabric of good quality! Luxurious coatings can
definitely cost quite a bit, but you should definitely
think of it as an investment. Usually, lining fabric is the
first thing to wear out in any coat, so it is wise to choose
this well, too. I would not suggest using silk as a lining, as it
is very sensitive to bacteria, and worn closest to skin it will
perish easily. However, you will want something that is
smooth so that the coat is easy to put on and take off, so
a satin fabric with a silky feel is a good choice.
If you find coat-making very intimidating, one good tip
is to sew with a friend. Maybe you know someone that has
already made a coat and can teach and support you, or
even someone that is equally lost so you can help each
other (and commiserate when it is time to introduce the
seam ripper to your coat!). The making process goes much
faster with two or more pairs of hands, and, like many
things in life, sewing is more fun in good company!

Keeping me inspired...
At the moment I'm finding ur
very own fabric stash super
inspiring! We tend o roam
arund fabric shops a lot, and
when we see something fabulus,
we just have o buy it fr ur
stash - fr posible future use!
I think the majrity of fellow
fabric hoarders and seamstreses
can definitely relate o that.
Unfrtunately, the Named stash
is groing a bit to big fr its
cabinet, so we have decided o
My fabric-shopping ban has
stop buying new fabrics (fr
made me think of fabrics from
now!) and use whatever we a more creative perspective.
I'm a fabric hoarder, so wil have in ur stash instead.
l be
using up my stash (for now
!).

WWW.SIMPLYSEWINGMAG.COM 35
THE SADE BLOUSE
Add a touch of Scandi simplicity to your
everyday wardrobe with Named's Sade
Blouse, a loaty top with chic tie details.
TH SAD B OUS
01 02 03

07 08 09

YOU WILL NEED CUTTING OUT together at the neckline and the shoulder seams
Q Main fabric: Step one From the main fabric cut: as shown, with the left back piece on top. 03
For sizes 1 and 2: 115cmx2m Bodice front (A): one on the fold. Step six Pin and sew the front and assembled back
(45inx2¼yds) Bodice back (B): one pair. bodice RS together at the shoulder seams. 04
For sizes 3, 4, 5, 6, 7 and 8: Sleeve front (C): one pair. Step seven Finish the seam allowances of both
115cmx2.5m (45inx2¾yds) Sleeve back (D): one pair. pieces together and press them towards the front.
For size 9: 115cmx2.75m (45inx3yds)
Q Tape interfacing: 1cm (3⁄8in) wide x MAKING BIAS BINDING BINDING THE NECKLINE
4m (4½yds) Step one Cut a 4cm (1in) strip of fabric on the bias. Step one Open the bias binding flat and press one
Q Bias tape: 4cm (1in) wide x 70cm If piecing shorter pieces together, sew the strips short end to the WS by 1cm (3⁄8in). Place the folded
(27in) with diagonal seams and narrow seam allowances. end on the centre-back notch along the back
Q Narrow ribbon or cord: 3-3.5m Step two Press in half lengthways wrong sides neckline and pin the binding along the neckline,
(3-4yds), for the ties (WS) facing. Press the raw edges to the middle. matching the raw edges. 05
Q Quilting ruler and rotary cutter Step two Pin the binding in place around the
(optional), for making bias binding SEWING THE BODICE neckline, making sure not to stretch it too much.
Q Basic sewing kit Step one Staystitch the front neckline approx Pin the other short end of the binding slightly
5mm (¼in) in from the raw edge. overlapping the folded end, then sew in place. 06
NOTE Step two Press tape interfacing along both of the Step three Fold the unsewn raw edge of the
Use a 1cm (3⁄8in) seam allowance back bodice centre-back edges, and then do the binding to the centre of the binding strip, then
unless otherwise stated. same for the sleeve vent edges. fold the folded edge over to the inside. Pin the
Step three Pin the dart in place with right sides binding in place from the RS of the garment. 07
SUGGESTED FABRICS (RS) together and then stitch together from the Step four From the RS, sew the binding in place by
Choose a lightweight fabric such as side seam, sewing a few stitches beyond the bust stitching along the inner edge of the binding (or
double gauze, cotton, silk or chiffon. point. Tie off the threads with a few knots and stitch in the ditch if you prefer), catching the edge
Make sure that your fabric has drape then press the dart upwards. 01 of the binding on the WS. 08
– a stiff or too-heavy fabric will not Step four Press the centre-back edge of one of the
work for this loose-fitting style. bodice pieces to the WS by 1cm (3⁄8in), then turn INSERTING THE SLEEVES
the pressed edge over by another 1cm (3⁄8in). Pin Step one Take one of the sleeve pieces and press
and then stitch this in place. Repeat for the other the slanted vent edge to the WS by 1cm (3⁄8in). Turn
back bodice piece. 02 the pressed edge over by another 1cm (3⁄8in). Pin
Step five Machine-tack the back bodice pieces and then stitch into place.

38 WWW.SIMPLYSEWINGMAG.COM
 04 05 06

10 11 12

Step two Repeat this to hem the slanted vent edge FINISHING OFF CUTTING LAYOUT
on all of the sleeve pieces. 09 Step one Sew the side seams and the underarm
ALL SIZES 115CM (45IN) WIDTH FABRIC
Step three Tack a front and back sleeve together at seams as shown. Finish the seam allowances
the sleeve cap, matching the notches and with the together and press towards the back. 12
back sleeve on top. Repeat with the other front Step two To hem the sleeves and the bottom of
and back sleeve pieces. 10 the blouse, press the edges to the WS by 1cm
Step four Pin the sleeves to the armholes with RS (3⁄8in), then another 2cm (¾in). Sew close to the
together, matching notches, then sew in place. 11 edge to create channels and then use a safety pin
Step five Finish both seam allowances together to guide cord or ribbon through each channel.
and press towards the bodice. Finish the ends with knots or narrow hems.

SIZE CHART
FINISHED MEASUREMENTS

SIZE 1 2 3 4 5 6 7 8 9

UK 6 8 10 12 14 16 18 20 22
US 2 4 6 8 10 12 14 16 18
EUR 34 36 38 40 42 44 46 48 50

cm 94.5 98.5 102.5 106.5 110.5 114.5 118.5 124.5 130.5

BUST
in 37 38 40 42 43 45 46 49 51

cm 96.5 100.5 104.5 108.5 112.5 116.5 120.5 126.5 132.5

WAIST
in 38 39 41 42 44 46 47 49 52
The Sade Blouse is from
cm 51 51.5 51.5 52 52 52.5 52.5 53 53 Breaking the Pattern by Saara
LENGTH and Laura Huhta, founders
in 20 20 20 20 20 20 20 21 21
of the Named pattern brand
cm 59.5 59.5 60 60 60 60 60 60 60 (£26, Quadrille). Photos by
SLEEVE
LENGTH Arto Markkanen. See more
in 23 23 23 23 23 23 23 23 23
at www.hardiegrant.com

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 39

 refashion

pleated pretty
Elisalex de Castro Peake takes a tee
from slouchy to slinky with a pastel
pleated skirt update.

40 WWW.SIMPLYSEWINGMAG.COM
 refashion
01 02 03

07 08 09

YOU WILL NEED CUTTING THE T-SHIRT to run down the length of the skirt. 03
Q A loose-fitting T-shirt Step one When gathering supplies for this Step three Cut a rectangle of lining fabric in the
Q Pre-pleated fabric: 1-2m (11⁄8-2¼yd) project it is advisable to check the fabric same way as for the pleated fabric.
Q Lining fabric: 1-2m (11⁄8-2¼yd) content of your T-shirt and fabric. Synthetic
Q A length of elastic long enough to fabrics melt and burn easily under the heat of MAKING THE SKIRT
encircle your waist an iron, and you will need to preserve pleats in Step one With right sides (RS) together, pin up
Q Basic sewing kit the fabric which pressing could remove. the side seam of the skirt. 04
Step two Fold the T-shirt in half lengthways. Step two Sew along the pinned edge. Our fabric
Measure down approx 45cm (18in) from the does not fray so we have not finished the seam
shoulder seam and mark this point. 01 on the inside. You could neaten the excess seam
Step three Try the T-shirt on before cutting to allowance on an overlocker or with a zigzag
make sure that it’s the correct length for you, stitch if you wish.
then add an extra 3.5cm (13⁄8in) to the marked
point for seam allowance – this large seam MAKING THE LINING
allowance will ensure the T-shirt portion of the Step one Sew the side seam of the lining with
dress maintains a slight overhang so that the RS together and press the seam open. 05
waistline seam is not visible when complete. Step two Press the bottom edge of the skirt
Mark the new line across the T-shirt. lining to the wrong side (WS) by 5mm (¼in) and
Step four Cut across the drawn line and discard then again by 1cm (3⁄8in), and pin to secure. 06
the bottom half of the T-shirt. 02 Step three Topstitch the lining hem into place.
Hemming the lining but not the pleated outer
CUTTING THE SKIRT skirt will result in the skirt’s lining being a little
Step one Take your hip measurement and add shorter than the pleated skirt so the lining won’t
10cm (4in) – you can add more if you would like be visible when worn. 07
a fuller skirt. This will allow for wearing ease and
seam allowance. ASSEMBLING THE SKIRT
Step two Cut a rectangle of the pleated fabric Step one With WS together, pin the pleated skirt
that is your new hip measurement across, and to the lining along the waistline. Align the skirt
however long you would like your skirt to be in and lining so the side seams are on opposite
length, plus 1.5cm (5⁄8in) seam allowance at the sides, which will prevent an imbalance of bulk
waistline. Remember that the pleats will need all on one side. Tack or pin along the waistline

42 WWW.SIMPLYSEWINGMAG.COM
 refashion
04 05 06

10 11 12

to keep the two skirt layers in place. 08

Step two With the RS facing, pin the T-shirt to
the pleated skirt at the waistline, matching side
seams. Start by pinning the T-shirt to the skirt at
the side seams, then at the centre front and
centre back. The skirt will most likely be wider
than the T-shirt raw edge, so gently stretch the
T-shirt as you pin to fit the wider waistline of the
skirt. Make sure the T-shirt is stretched evenly all
the way around. 09
Step three Stitch the three layers together with
a 1.5cm (5⁄8in) seam allowance. Finish the seam
allowance with an overlocker or a zigzag stitch.

FINISHING OFF
Step one Cut the elastic approx 2.5-5cm (1-2in)
less than your waistline measurement, so that it
fits comfortably and snugly around your waist.
Step two Pin the two ends of the elastic to the
waistline seam allowance at one side seam.
Identify the halfway point of the elastic and pin
this point to the opposite side seam. Find the
halfway point of each half of the elastic and pin
these to the centre front and centre back. 10
Step three Continue to divide the sections of
elastic in half and pin those points to the
corresponding halfway points of the waistline.
This will ensure the stretch is evenly spread. 11
Step four Use a three-step zigzag stitch to sew If your pleated skirt fabric is
the elastic to the waistline, stretching it
opaque, skip adding a lining
for an even speedier make!
between pins as you go. 12

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 43

UNDER
COVER
Get your winter sewing all wrapped up
with coat-making tips and tricks from
some of our favourite designers.
Written by Sarah Gane.
Photo left: Will and Joan; Photos top right: www.thestitchsisters.co.uk
A GOOD R AD

Photo left: By Arto Markkanen, from Breaking the Pattern by Saara Huhta and Laura Huhta; Inset photo: www.namedclothing.com
The Stitch Sisters, aka Rachel and
Nikki, encourage sewists of all skill
levels to have a go at coat-making:
"There are so many patterns, even
for beginners, so don’t think it is
something you have to work up to."

W
inter is coming and it’s time to your own coat can often still be cheaper than
Saara and Laura's
bring out the trusty coats and buying a good ready-to-wear one,” says Saara Breaking the Pattern
jackets. But how many of us are Huhta, co-founder and designer at Named book includes the
truly happy with the high street patterns (www.namedclothing.com). “Not to dreamy Halla Coat
outerwear we put on each year mention that you can achieve a much better pattern – swoon!
when the weather turns colder? fit and a design that's unique to you.”
Perhaps it’s the colour or poor-quality feel of
the lining fabric, the not-quite-right length, WORTH THE EFFORT
the buttons that are in the wrong place, the Coats are an everyday staple in autumn and
slightly-too-small pockets, or simply a design winter, so your investment of materials and
detail that doesn't feel like 'us'. Despite how time will be well worth it, as writer and sewist
much we wear our coats, sometimes they're Ebony Haight (www.heira.studio and www.
just not quite right. And it’s no surprise, really instagram.com/ebonyh) tells us. “You can be
– it’s a lot of pressure to fairly certain you’ll
bestow on one garment. get regular use out of
Coats are, by their very “we can create the it. Plus a good coat or
nature, often seen as jacket can really pull
investment pieces: we design we want. The a look together and
need them to serve perfect colour, the make your outfit…”
many purposes while Yet, if the thought
also fitting like a dream. perfect style and fit." of working with
A very tall order indeed. thicker fabrics,
“A good coat is very hard to find,” confirm slippery linings and fiddly fastenings is
sewing teachers and bloggers, Rachel Derrick putting you off, you’re not alone. “It might
and Nikki Waterlow of The Stitch Sisters (www. come as a surprise, but I too was very scared of
thestitchsisters.co.uk). “You could find the coat-making for a long time,” admits Named
style but not the fabric. Or you can find the patterns co-founder and designer, Laura
fabric but not the quality. Or you might find Huhta. “Once I taught myself the basic
the quality but not the right fit.” process, though, I fell in love with it.”
But there is another way. Colder weather “The thing we enjoy most about making
brings an opportunity to showcase your our own coats and jackets is that we can
sewing skills while creating a quality, long- create whatever design we want. The perfect
lasting garment that truly reflects your style colour, the perfect style and the perfect fit,”
and personality. “Coat fabrics can be very say Rachel and Nikki. Nevertheless, there’s no
expensive, but investing in them and making denying those lovely, snuggly textiles also

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

 Blogger Ebony advises
taking "pleasure in the
process of working on
something in stages.”
Photo left: www.byhandlondon.com; Photos right: www.heira.studio

By Hand London's Elisalex

loves creating coats that are
"strong and sculptural, yet
soft, warm and wearable.”

Brush up on your sewing skills with

an online or a weekend workshop.

INTRO TO SEWING COATS, SEW OVER IT come with their own set of problems, they tell you sew it up in something stiff and boxy, it
This class for making Sew Over It's Chloe us: “Coats are generally quite large and the won’t look how you wanted it to,” say Rachel
Coat is aimed at sewists with dressmaking fabrics are heavy, so it can be a cumbersome and Nikki. Spend a little time researching,
experience. It’s a classic design with simple and bulky thing to sew.” Elisalex de Castro considering your favourite tones, what you
details and an exquisite finish. It's available to Peake, co-founder of By Hand London (www. like to wear the most and how you see this
do as an online class, or you can head down byhandlondon.com) agrees: “When you’re piece sitting alongside other existing coats
to the London-based studio. attaching the collar and sewing over seam you own. If you’re feeling brave, it could be
For class details visit www.sewoverit.co.uk intersections that can have up to eight layers a good opportunity to go bold with colour or
of heavy coating fabric and you’re having to patterns, bringing a little brightness to the
STITCH SISTERS COAT-MAKING COURSE ease conflicting curves – so frustrating – it dark and dreary days of winter. But if you’d
The Stitch Sisters have designed their own really helps to have prefer to keep it
pattern, complete with princess seams, a strong machine that classic on the outside,
a shawl collar and belt closure. Offering can cope with that.” “It’s fun to play the lining fabric can
a gentle introduction to coat-making, the Despite this, though, be a good place to
design includes new techniques but is the process itself also around with the lining inject a bit of fun, as
simple enough to sew in one weekend.
26-27 January 2018 at Bristol
offers many positives
and can be really
and choose a bright well as keeping things
tidy. “I love linings, as
Textile Quarter. See more at www. enjoyable, as she colour or print." it encases all of the
bristoltextilequarter.co.uk explains: “I find coat raw edges, creating
fabrics extremely a super-neat result,”
SIMPLICITY SEWING, CREATIVEBUG satisfying to work with. When all those seams says Laura. This is also a chance to experiment
Create a stunning, swooshy new coat using are eased, pressed and topstitched, you are with colour, as she explains: “It’s fun to play
a Simplicity Pattern. You’ll learn how to work left with something strong and sculptural, yet around with the lining and choose a bright
with bulky fabrics, sew princess seams, stitch soft, warm and wearable at the same time.” colour or print, even when the actual visible
a double collar, add a lining, and more – all side of the coat is not so flashy.”
from the comfort of your own home. CHOOSING MATERIALS Before you start your coat project, it’s worth
For class and subscription information go When it comes to fabric, as you’d expect, it will taking the pressure off the end result a bit by
to www.creativebug.com need to work in harmony with your pattern. “If taking the time to get to know the fabric. “If
the style of the coat needs a drapey fabric and you’ve never worked with your chosen fabric

46 WWW.SIMPLYSEWINGMAG.COM
 A GOOD R AD

Inspired to give coat-making a try?

Try these patterns for all skill levels.

IAMMIMOSA
Craft a comfy, cosy
Mimosa coat, complete
with a wide rolled-down
collar and pockets.
Beginner
Go to www.iampatterns.fr

WIKSTENKIMONO
Ebony's recommendation:
“An accessible pattern –
you could make one out of
just about any fabric.”
Beginner
Visit www.shopwiksten.com
For a coat that drapes
Photos: Will and Joan

beautifully, interfacing
is your friend! “It’s the CASCADEDUFFLECOAT
key to a coat that holds Grainline Studio’s duffle
its shape," says Deer
and Doe's Eléonore. has an interchangeable
collar and hood, so you can
customise the end result.
before, buy a little extra so you can play “The extra grip will help when the heavy fabric Intermediate
around with it,” advises Ebony. “Experiment wants to pull away from the machine. The See www.grainlinestudio.com
with pressing it, figure out what finishing bulky seams will need grading, so a pair of
techniques you want to use, how it takes duckbill scissors can make quick work of that.” GAIACOAT
stitches and how your machine responds to it Deer and Doe's Eléonore advises that you Laura says: "If you loathe
– especially several layers of it!” The basics are strengthen the coat with interfacing. “That’s setting in sleeves, this
also the same as other dressmaking projects: the key to a coat that holds its shape and design has a nice, unique
“The grainline is important if you want your drapes well, including the hems! Choose sleeve construction!”
coat to hang well,” confirm Rachel and Nikki. a good-quality interfacing in a weight that Advanced
matches your fabric, and never skip this step.” Visit www.namedclothing.com
TOOLS AND TIME Finally, “if you have a coat with collars or other
There are a few things you can add to your sharp corners that need turning, a corner and BAMBOOCOAT
tools stash that will make the process a little edge sharper is handy tool,” adds Saara. A stunning coat by Waffle
easier. “Sharp cutting tools, a strong needle, Of course, time is another coat-making Patterns that’s particularly
and patience,” advises Ebony. “A good iron essential – and, if you're happy with the fit of striking when made with
that gives off a reliable burst of steam will take your pattern and feel confident with working a contrast lining.
your sewing – coats and otherwise – to the with your fabric, your dream coat could be just Advanced
next level.” Using that, along with a pressing a weekend away. “Set aside a long weekend Find it at www.thefoldline.com
ham, will help you keep the shoulders nice with plenty of snacks, music and podcasts, etc,
and round. “A wooden clapper, to set on your to keep fuelling you along,” says Elisalex. “Get
seams as they cool from the steam, will also your cutting done on Friday evening, sew the SAPPOROCOAT
make it so much easier to get a professional, lining first to get it out of the way, and finish A bold jacket by Papercut
crisp finish.” Don’t skimp on pins and needles hand-sewing on Sunday night over a well- with a dramatic cocoon
either: “Appropriate sewing machine needles deserved boxset binge.” Alternatively, try silhouette and angled
for heavy fabrics (a whole pack of them) are breaking it down into manageable chunks. seaming. Super stylish.
essential,” says Elisalex. “Universal needles will “Acknowledge that this may not be a project Intermediate
break in half a second when you get to sewing you can bang out over the weekend," says Available at www.backstitch.co.uk
all those layers of coating fabric! You’ll also Ebony. "And find pleasure in the process of
Gaia Coat Photo: Arto Markkanen

need a pack of sharps for the lining fabric.” working on something in stages.” Ultimately, RUMANACOAT
Deer and Doe founder and creative director though, “if there’s a secret to it, it’s that coats By Hand London’s Rumana style is
Eléonore Klein (www.deer-and-doe.com) are not as challenging to make as they first a classic, elegant coat you'll wear
agrees, adding: “Not only do you need to appear." Rachel and Nikki agree: “There are so for years. It’s fully lined, has welt
adapt the size of your sewing needle to your many patterns out there, even for beginners, pockets and two-piece sleeves.
fabric, but your pins as well.” When it comes to so don’t think it is something you have to work Advanced
your sewing machine, “a walking foot can be up to – chances are you have already sewn Find it at www.thefoldline.com
useful for thicker fabrics,” say Rachel and Nikki. something more difficult without realising it.”

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 47

 NE SU
IS
W E!
Don’t miss it!
The new issue of Love Knitting for Babyy includes a
set of 4mm bamboo knitting needles – perfect for
starting those little festive knits! Plus, make an adorable
Rudolph jumper, cute penguin toy, fun set of Christmas
LEXW 7ERXE SYXƤX ERH PSXW QSVI

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this issue includes:
■ 4mm bamboo knitting needles Only
■ Adorable festive patterns £in5.99
■ Great gift ideas to knit cluding
■ New season yarn guide p&p
and Halloween quick-knits

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ONLINE www.buysubscriptions.com/craftspecial
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STIR1SRXS*VMEQũTQERH7EXEQũTQ*VIIHIPMZIV]EZEMPEFPISR9/SVHIVWSRP]3ZIVWIEW
TPIEWIGEPP  
)96TVMGIe63;TVMGIe%PPTVMGIWMRGPYHIT T4PIEWIEPPS[YTXSHE]WJSVHIPMZIV]
looking rosy
Pick a small-scale posy print for Debbie
von Grabler-Crozier’s petite cross-body
satchel with contrast leather details.
mini Satch
01 03

05 06

YOU WILL NEED CUTTING OUT Topstitch from one, around the bottom edge to
Q Outer fabric: 40x115cm (16x45in) Step one Download, print and cut out the the other. Do not topstitch the top angled part
Q Lining fabric: 46x57cm (18x22in) satchel templates. of the tab yet – this will prevent a double layer
Q Iron-on wadding: H630 46x57cm Step two From the outer fabric cut: of stitching when the tab is attached to the flap.
(18x22in) Front outer: one using the template. Step two Punch a central hole in the bottom
Q Iron-on Decovil I light interfacing: Back outer: one using the template. rounded part of the tab, just large enough to
46x57cm (18x22in) Flap outer: one using the template. admit the screw button head. 01
Q 2 screw button studs: 6mm (¼in) Gusset outer: 7x41cm (2¾x161⁄8in). Step three Make a small slit about 5mm (¼in)
Q Tan leather or faux leather: Strap: 5.2x138cm (21⁄8x54in). long coming up from the hole. 02
30x30cm (12x12in) Step three From the lining fabric cut: Step four Attach the screw button studs to the
Q Leather hole punch Front lining: one using the template. button ovals following the manufacturer’s
Q Clear drying glue Back lining: one using the template. instructions.
Q Basic sewing kit Flap lining: 20x20cm (77⁄8x77⁄8in).
Gusset lining: 7x41cm (2¾x161⁄8in). MAKING THE STRAP
NOTES Step four From the Decovil interfacing cut: Step one Fold the outer fabric strap piece in half
Q Download the templates from Bag front interfacing: one using the template. lengthways and press. Unfold the strip, then
www.simplysewingmag.com/ Bag back interfacing: one using the template. fold the two raw edges into the centre crease
downloads Flap interfacing: one using the template. and press again. If you need to join the strap
Q Use a 5mm (¼in) seam allowance Step five From the iron-on wadding cut: fabric use a diagonal seam as it is not as
unless otherwise stated. Front outer wadding: one using the template. noticeable as a straight seam. 03
Back outer wadding: one using the template. Step two Bring the folded edges together,
MATERIALS USED Flap outer wadding: one using the template. enclosing the raw edges, then topstitch along
The main fabric used is Beatrice Light Gusset wadding: 7x41cm (2¾x161⁄8in). both long edges of the strap.
from The Denim Company. Visit www. Step six From the leather cut:
thedenimcompany.co.uk Tab closures: one using the template. MAKING THE FRONT AND BACK
Vlieseline from Lady Sew and Sew. Button ovals: one using the template. Step one Press the iron-on wadding to the
Visit www.ladysewandsew.co.uk Strap end: one using the template. wrong side (WS) of the front outer piece then
press the Decovil interfacing over the top.
MAKING THE TABS Step two On the right side (RS) of the outer
Step one Glue two tab closures together, suede fabric measure down 4cm (15⁄8in) from the top
sides facing. There are two marks on the tabs. and 4cm (15⁄8in) in from the side and place

50 WWW.SIMPLYSEWINGMAG.COM
 03 04

07 08

a screw button oval with the screw button in on wadding and then sew the interfaced outer and by hand to get everything to hold together.
top. Topstitch around the oval to secure. Repeat the lining RS together, leaving a turning gap Repeat to attach the back to the gusset.
for the other screw button oval. 04 along one edge. Turn RS out through the gap Step three Use one of the strap end leather tabs
Step three With RS together, pin the front lining and neatly slip stitch the gap closed. to cover the raw edge of the strap and place it
to the front outer. Sew all the way around, on the gusset 2.5cm (1in) down from the top of
leaving a turning gap. Notch the corner curves ASSEMBLING THE BAG the gusset in the centre. 08
and clip across the square corners. 05 Step one Pin or clip the front and the gusset Step four Close the front tabs using the screw
Step four Turn RS out through the gap. Neatly together so that the edges meet. 07 buttons, then sit the flat edge of the flap approx
slip stitch the gap closed then press. Step two Topstitch around this edge to join the 3.5cm (13⁄8in) down from the top edge of the
Step five Make the back the same way as the two pieces. Sew slowly using pins or clips to back piece. Adjust the flap positioning as
front, omitting the screw button ovals. hold the pieces together as you sew. If pins and necessary so that it closes neatly. Topstitch the
clips are not working for you, consider tacking flap in place approx 3mm (1⁄8in) from the edge.
MAKING THE FLAP
Step one Press the iron-on wadding to the WS
of the outer flap and then press the Decovil Use tacking or clips
interfacing to the wadding. to hold the pieces
Step two Place the interfaced flap front onto the securely in place
for topstitching.
untrimmed lining with RS together. Pin and sew
around the edge, leaving a turning gap at the
back. Trim the lining to fit the flap front and
notch the curves. Turn out through the gap and
press. Topstitch around the sides and the front
curve, lifting the tabs out of the way as you sew.
Step three Take a tab closure and place it on the
front of the flap 3.5cm (13⁄8in) in from the side
and 12cm (4¾in) down from the flat end. Stitch
it into place, starting from the position you
stopped at before, around the top curve to the
stitching start point. Repeat for the other tab. 06
Step four The gusset is made in the same way.
Interface the outer on the WS with iron-on

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 51

 22ND - 25TH
MARCH 2019
3 nights from
£599*

Based at Yarnfield Park, Stafordshire, this unique event gives you the chance to indulge in your
favourite hobby, develop your skills, learn new ones and enjoy a few days in the company of
like-minded people.
What’s Included?
• 4 half-day workshops of your choice with our experts
• 3 nights full board accommodation at Yarnfield Park
• £50 voucher to spend at sewandso.co.uk (to stock up on
supplies for your workshops)
• Evening talks and entertainment

Workshops
Across the weekend there will be choice of at least 48 workshop
sessions (24 stitching and 24 knitting/crocheting). There’s lots
to choose from including Redwork Sampler, Japanese Apple
Blossom Designs, Jelly Roll Bargello Table Runner and Boro
Inspirations to name a few!

Featuring four of the UK’s top stitching & quilting experts...

MANDY SHAW PAT ARCHIBALD KARIN HELLABY JANICE GUNNER

PLUS POPULAR EXPERTS FROM THE KNITTING & CROCHET WORLD:
• CAROL MELDRUM • SARAH HAZELL • EMMA LEITH • KATHLEEN ANDERSON

Visit www.stitchtopia.co.uk or call 01473 633 506 for more information

*Find full payment details and options on the website. Please ensure you check
this website for latest details on all events and holidays.
ABTA No.Y6426
 UpcYcle
QUICK
PROJECT

jump to it
Give two plain jumpers
a Rudolph revamp with
sparkles, stitching and
a cute felted nose. Lana
Red shows you how.
 TRANSFORM IT!
01 02 03

04 05 06

YOU WILL NEED JOINING THE JUMPERS Step two Using an embroidery hoop, embroider
Q 2 jumpers Step one Take your two jumpers and decide which the eyes with two strands of black stranded cotton
Q Black stranded cotton one will be the top and which one will be the with a satin stitch. 04
Q Sequin trim bottom piece. Calculate where you would like the
Q Embroidery hoop seam to be and then mark a line across the width FELTING THE NOSE
Q Merino wool of the jumper. 01 Step one Place a felting mat inside the jumper,
Q Felting needle Step two Cut the jumper 1cm (3⁄8in) below the line slightly underneath the eyes, in the centre of the
Q Felting mat and repeat for the other jumper to cut the bottom bottom part of the jumper. Place the circle cookie
Q Circle cookie cutter piece, this time cutting 1cm (3⁄8in) above the cutter in the centre of the mat on top of the
Q Basic sewing kit marked line. Be careful when handling the cut jumper. Peel off a tuft of fibres from the merino
jumper pieces as knitted fabric will unravel easily. wool and place them inside the cookie cutter.
Try not to stretch the cut edges or pull at any loose Step two With a felting needle, start punching the
threads as this could create a ladder in the fabric. wool into the jumper. Punch the wool until it is all
Step three Turn both jumper pieces inside out. attached to the jumper and the circle is filled. 05
With wrong sides (WS) facing, pin the cut edges
together and then sew in place. 02 STITCHING THE ANTLERS
Step one Pin sequin trim onto the jumper by
EMBROIDERING THE EARS inserting the pin through the hole of one of the
Step one Place the jumper right side (RS) out on sequins and into the jumper.
your work surface and draw the placement and Step two Pin three pieces of trim on each side of
shape for the ears with tailor’s chalk. the top of the jumper to create the antlers. Stitch
Step two Attach an embroidery hoop to the in place by hand to secure. 06
drawn shape.
Step three Thread your needle with two strands of
black stranded cotton and neatly embroider the When she’s not behind her
chalk line in a small satin stitch. 03 sewing machine, you’ll
Step four Repeat to embroider the other ear. probably find Lana Red
cuddling with her cats or
EMBROIDERING THE EYES twirling around in one of
Step one Mark and draw the eyes with tailor’s her handmade dresses.
chalk on the bottom part of the jumper. www.lanaredstudio.com

54 WWW.SIMPLYSEWINGMAG.COM
 o_
N 19
WraPped Back StiTch

STITCH
libr ary
When the weather outside is frightful,
stay in and embroider Mollie Johanson’s
snowy sampler in wrapped back stitch.
cut out & Keep
WRAPP D BACK STITCH
01 02 03

LEARN THE STITCH

04 05 06

USE THE STITCH

YOU WILL NEED WORKING WRAPPED BACK STITCH Step four Working with three strands of stranded
Q Stranded cotton in white, brown Step one Begin with a line of regular back stitch. cotton, embroider the snowflakes with white, the
and pink Working in a second colour, come up from the trees with brown, and the ribbon with bright pink
Q 15cm (6in) embroidery hoop back at the end of the first stitch. The new thread stranded cotton. Use straight stitch to embroider
Q Embroidery needle should come from behind the stitch without the snowflakes and use back stitch for all of the
Q 20cm (8in) ribbon, for hanging coming through the back stitch. Pass the thread other shapes. 05
Q Bondaweb over the back stitch and then slide the needle Step five Soak or tear away the interfacing or
Q Water-soluble sticky-backed under the stitch. 01 tracing paper.
interfacing or tracing paper Step two Pass the thread over the line of stitching Step six Add the wrapping to the tree branches
Q Linen: 25x25cm (10x10in) and slide the needle under the next stitch. Repeat using three strands of white stranded cotton.
along the entire line of stitching. Wrap the stitches Step seven Place the finished embroidery in an
NOTE in either direction, but be consistent. 02 embroidery hoop. Trim the excess fabric, leaving
Q Download the templates at www. Step three When you reach the end of the line and approx 2.5cm (1in) around the edge. Use a needle
simplysewingmag.com/downloads complete the last wrap, go back down through and thread to stitch around the edge of the fabric
the fabric with the end of the working thread and gather it at the back. Secure the thread end.
under the last back stitch. 03 Step eight Tie a loop of ribbon through the screw
at the top of the hoop for hanging, then tie a bow
EMBROIDERING THE DESIGN around the hardware. 06
Step one Trace the tree and ribbon templates onto
Bondaweb and iron them onto the back of some
fabric pieces. Cut out the shapes and peel off the
paper backing.
Step two Arrange the shapes on the square of
linen. They should line up with the embroidery
template as close as possible. Iron the shapes to
the fabric. 04
Step three Print or trace the embroidery pattern
onto water-soluble sticky-backed interfacing or
tracing paper. Attach the pattern to the fabric so it
lines up with the fused fabric. You may need to cut
the pattern apart to line it up properly.

56 WWW.SIMPLYSEWINGMAG.COM
ready to roll
Jennie Jones’ clever colour-
block tote bag rolls up neatly
for easy carrying (and gifting!).
ro -up tot
YOU WILL NEED 01 02
Q Main fabric: 45x80cm (18x32in)
Q Contrast fabric: 40x40cm (16x16in)
Q Elastic or hairband
Q Button
Q Basic sewing kit

FABRIC USED
Main fabric: Flower Ball from the
Confetti range by Dashwood Studio
from www.sewcraftyonline.co.uk

NOTE
Q Use a 1cm (3⁄8in) seam allowance.

CUTTING OUT 03 04
Step one From the main fabric cut out the
following pieces:
Bag bottom: two pieces 26x40cm (10¼x15¾in).
Handles: two strips 8x50cm (31⁄8x20in).
Step two From the contrast fabric cut out the
following pieces:
Bag top: two pieces 18x40cm (71⁄8x15¾in).

MAKING THE FRONT AND BACK

Step one Place one top and one bottom piece
right sides (RS) facing and pin together along
one long edge – for directional prints, this
should be the bottom of the top piece and the
top of the bottom piece.
Step two Fold the hairband or piece of elastic in
half and place the two ends between the two
pieces of fabric in the centre, matching the bag under by 1.5cm (5⁄8in) to the WS then 1.5cm Step three Roll up the top and bottom so they
elastic ends or folded loop with the raw edges (5⁄8in) again and press. meet at the loop then mark where the elastic
of the fabric. Pin into place. Step two Tuck the short ends of one handle loop folds over to the bag bottom fabric.
Step three Sew together, backstitching at the under this pressed-under hem, placing each Step four Unroll the bag then securely
beginning and end of your stitching. It is also raw end 12cm (4¾in) from the sides of the bag hand-sew the button into place, making sure
advisable to backstitch over the elastic when top. Pin into place. you only stitch through one side of the bag. The
you reach it to secure it in place. Step three Sew along both the top and bottom elastic will pull on the threads slightly so it is
Step four Press the seam open and then of the hem – this will finish the edge and secure important that the button is secure. 04
topstitch either side of the seam on both of the the ends of the handle in place. Step five Fold and roll the bag back up, and loop
fabrics to decorate. 01 Step four Fold the handle upwards and pin then the elastic around the button to secure.
Step five Repeat this with the other top and stitch into place by sewing a square at the top of
bottom pieces to make the bag back, without each handle end. 02
inserting the elastic this time. If you are using a Step five Repeat this with the other handle and This stash-buster bag
directional print remember to sew your fabrics the other side of the bag. is great for using up
leftover fabrics – and
with the print facing the correct way. spare buttons, too!
ASSEMBLING THE BAG
MAKING THE HANDLES Step one Pin the bag front and back with RS
Step one Fold one handle strip in half together, matching the seams between the bag
lengthways with wrong sides (WS) together. top and bag bottom. 03
Step two Open out the folds and then fold the Step two Stitch together down the sides and
long raw edges to the WS to meet at the centre across the bottom.
fold and press. Step three Work a machine zigzag or overlock
Step three Fold the handle in half again and around all the raw edges to neaten.
press to enclose the raw edges and give the Step four Press the bag all over to finish.
handle crisp edges.
Step four Stitch together down the open edge FOLDING THE BAG
of the strip to make the handle. Step one Lay the bag out on your work surface,
Step five Repeat to make the other handle in with the side with the elastic loop facing down.
the same way. Step two Fold both of the bag handles over on
ATTACHING THE HANDLES top of the bag then fold the sides of the bag in
Step one Turn the top edge of one side of the to the centre, on top of the handles.

58 WWW.SIMPLYSEWINGMAG.COM
 CREATE BEAUTIFUL DESIGNS WITH
THESE BRILLIANT FAT QUARTERS

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DELIVERY
:257+ £2.99
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 bro id e r y…
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[email protected]
 flight
of fancy
Make Laura Pritchard’s swan princess cushion
crowned in metallic faux leather and add a little
fairytale magic to a child’s room – or your own!
swan cushion
YOU WILL NEED 01 02
Q Denim or other medium-weight
fabric: 55x115cm (22x45in)
Q Copper faux leather: 20x50cm
(8x20in)
Q Mixed corresponding fabrics: six
measuring 4x18cm (2x7in) of each,
for feathers
Q Black fabric scrap, for eyes
Q White fabric scrap, for wing curves
Q Bondaweb: 20x20cm (8x8in)
Q Toy stuffing
Q Basic sewing kit

NOTES
Q Use a 1cm (3⁄8in) seam allowance.
Q Download the template from www. 03 04
simplysewingmag.com/downloads

CUTTING OUT
Step one Download, print and then trace two
copies of the swan template: one as the body
without the beak, and a second with the beak
included (this second template need only be
the head section, as this is for trimming the
head to shape).
Step two From the medium-weight fabric cut:
Swan body: Cut a pair using the template.
Step three From the faux leather cut:
Crown: 18x20cm (7x8in).
Beak: Cut two 8x8cm (31⁄8x31⁄8in) squares.
Step four Follow the manufacturer’s instructions
to apply Bondaweb to the wrong side (WS) of ADDING THE APPLIQUÉ turning the swan head and neck RS out as they
each of the mixed fabrics, the black fabric for Step one Arrange the wing curve and feathers are particularly narrow at points and therefore
the eye and the white fabric for the wing curve. on the swan front wing area as indicated by the much more delicate.
Step five Using the feather template, trace the dotted line on the tempate. 02 Step two Neatly hand-stitch the gaps closed
shapes onto the paper side of the Bondaweb Step two Press in place and then press the eye with ladder stitch.
and cut out. to the face in the same way.
Step six From the mixed fabrics cut: Step three Repeat these steps to attach all of MAKING THE CROWN
Feathers: Cut 11 pairs. the applique pieces to the second swan body Step one Fold the faux leather crown fabric in
Step seven From the black fabric cut: fabric piece. half WS facing with the shorter edges meeting.
Eyes: Cut a pair. Step four Carefully stitch around the edge of Place the crown template on top with the base
Step eight From the white fabric cut: each shape to fix it to the background of the crown on the folded edge. Clip into place
Wing curves: Cut a pair. permanently. You can do this neatly with (don’t pin, as it will leave holes in the fabric). 04
free-motion or hand embroidery as desired. Step two Stitch through the paper, along the
ATTACHING THE BEAK top zigzag edge of the crown with a short stitch
Step one Use the full template to mark the beak MAKING THE SWAN length following the printed line.
shape on the wrong side (WS) of the faux Step one Place the two swan body pieces RS Step three Carefully tear away the paper. If there
leather squares. You will need a pair (a mirror together aligning the raw edges and pin well. are any small pieces of paper left behind you
image) to make up each side of the beak. Step two With the marked side uppermost, can use tweezers to carefully remove them.
Step two Stitch each beak square to the end of stitch the two pieces together following the Topstitch close to the bottom folded edge.
each corresponding swan head with right sides marked line. Leave two turning gaps, one on the Step four Trim the top zigzag edge approx 2mm
(RS) facing. The curved edge of the beak will be head and one at the base of the swan as (1⁄8in) away from the stitching.
on the inner edge of the swan head and the indicated on the pattern. Step five Align the side raw edges and stitch
straight edge will be sewn to the outer edge, Step three Trim seam allowances at acute points together into a tube as indicated by the pattern.
use the marked line on the pattern as a stitching and narrow parts. Clip into inner curves at Step six Turn the crown RS out.
guide line. regular intervals, taking care not to cut through
Step three Press the seam open using a pressing your stitching. Press the seams. 03 FINISHING OFF
cloth and a temperature suitable for the faux Step one Hand-stitch the crown to the swan’s
leather. It is best to check the temperature on STUFFING THE SWAN head at a couple of points with small stitches.
a scrap first. 01 Step one Turn the cushion RS out and stuff with Step two Trim off any loose threads and plump
Step four Trim any excess fabric back to a 5mm toy filling. A chopstick or knitting needle may the cushion to make sure the stuffing is evenly
(¼in) seam. be helpful for this step. Be extra careful when distributed throughout to finish.

62 WWW.SIMPLYSEWINGMAG.COM
 petal power
Elspeth Jackson’s hydrangeas are just as pretty as the
real deal – and will last a whole lot longer! Make a set
with her rag rug tutorial for a statement centrepiece.
rag rug f ow rs
YOU WILL NEED 01 02
Q Fabric offcuts or old clothing
Q Hessian with a 10 holes per inch
weave
Q Rag rug spring tool
Q Rag rug gauge (optional)
Q Glue gun/PVA glue
Q 6 x thick twigs
Q Vase
Q White spray paint or matt paint
Q Marker pen
Q Basic sewing kit

SUGGESTED FABRICS
Chiffons, cottons and lightweight
fabrics work best for these flowers as
they will move in a similar way to real 03 04
flower petals. We chose patterned
fabrics that mimicked the colours of
real hydrangeas.

NOTE
Q Download the templates from
www.simplysewingmag.com/
downloads

PREPARING YOUR STEMS

Step one Cut each of the twigs to approx 30cm
(12in) in length. Remove any large side shoots.
Step two Spray paint one side of the twigs white
and leave them to dry. Turn the twigs over and
spray paint the other sides, making sure they
are fully coated. holes away. You should now have two strands of Step four Fold the figure-of-eight together to
the hessian on top of the lever of the tool. sandwich the top of the twig between the two
HEMMING THE HESSIAN Step two Squeeze the wooden handle and sides and press until the glue is dry.
Step one Download and print the templates spring handle together to raise the lever at the
then cut them out. end of the tool. FINISHING OFF
Step two Place the templates onto the hessian, Step three Pick up a strip of fabric and place the Step one Using the glue gun, cover any bits of
so each template is at least 3cm (1¼in) away short edge of the fabric piece between the lever hessian that might be visible by carefully gluing
from the edge of the hessian and 3cm (1¼in) and the barrel. Release the spring lever to pieces of fabric together around the ‘seam’.
away from each other. clench the rag. Step two Trim any longer pieces of fabric to
Step three Draw around each of the templates Step four Holding the hessian still, pull the create hydrangea spheres.
with a thick marker pen. spring tool back through the hessian, so that Step three Arrange the hydrangeas in a vase.
Step four Sew around each of the drawn half of the strip is on one side of the strands of Cut some twigs shorter to create a bouquet.
templates using a zigzag stitch. 01 hessian and half is on the other. 03
Step five Repeat these steps to continue with
PREPARE YOUR FABRICS this method until you have completely filled
Step one Cut your fabric into 2-3cm (¾-1¼in) inside the zigzag-stitched outline with shaggy
wide strips. Use as much of the length of your rag rugging. It should be nice and full of fabric,
fabric offcuts as possible – the longer the strips so make sure that you rag rug as close together
the better. as possible.
Step two Wrap the long strips around the rag
rug gauge and then cut down the groove to cut ASSEMBLING THE HYDRANGEAS
them to the same length, approx 7cm (2¾in). If Step one Carefully cut around the zigzag-
you do not have a rag rug gauge then this can stitched outlines, being careful not to cut any of
be done manually. Discard any pieces that are the fabric pieces. Keep nice and close to the
much shorter than the others when removed stitching without cutting into it.
from the gauge. 02 Step two With the shaggy side of the hessian
face-down, position the twig in the centre of
RAG RUG THE HYDRANGEAS one half of the figure-of-eight shape. 04 Add live foliage
Step one Within the zigzag-stitched outline, Step three Glue around the edge of this side of to your vase too
weave the pointed end of the spring tool into the shape, making sure to put plenty of glue for an attractive
full bouquet.
a hole in the hessian and up through a hole two around the twig itself.

64 WWW.SIMPLYSEWINGMAG.COM
RING-A-POSIES
Tiny berry sprigs, dainty fronds and delicate blooms
adorn Anna Alicia’s wintery wreath design, created
with simple hand and punch-needle embroidery.
 mbroid r d wr ath
01 02

05 06

YOU WILL NEED ASSEMBLING THE HOOPS points that marks a flower’s centre. Leave
Q Embroidery hoop: 30cm (12in) Step one Start by assembling the double a small circular gap at the centre of the petals,
Q Embroidery hoop: 15cm (6in) embroidery hoop. First, take the large hoop and about 3-4mm (1⁄8-¼in) across.
Q Medium-weight cotton canvas: lay out the centre ring on a firm, flat surface. Step three Pin the petals in place and then stitch
40x40cm (16x16in) Step two In the middle of that ring, place the each petal at its base with three long radiating
Q Off-white felt: 15x15cm (6x6in) outer ring of the smaller hoop. Lay the cotton stitches in dark green stranded cotton, as
Q Felt: 32x32cm (13x13in), for backing canvas fabric on top and press the smaller inner shown in the photo. 03
Q 2B pencil ring into its outer ring. Step four Repeat for the remaining flowers.
Q Tracing paper: 4 x A4 sheets Step three Now press the outer ring of the Step five To make the centres of the flowers, set
Q Punch needle (optional) larger hoop over its inner ring. Check that the your punch needle to a medium-length loop
Q DMC stranded cotton: 934 dark inner hoop is central within the outer hoop and and thread with a pale blue stranded cotton.
green, for stitches on petals; 3813 adjust if necessary. Tighten up the hoop screws From the reverse side of your embroidery, make
pale blue, for flower centres; 3818 and pull the fabric taut. 01 stitches to fill in the gap at the centre of the five
dark green, for fan pine fronds; 704 attached petals.
bright green, for sprigs; 433 dark TRACING THE FLORAL PATTERN Step six Repeat this for all of the flowers. 04
brown, for three-pronged pine Step one Download and print out the template.
frond stems; 991 teal green, for Step two Trace the pattern onto tracing paper EMBROIDERING THE DESIGN
three-pronged pine frond needles with a 2B pencil. For the flowers mark only the Step one We used a mix of punch-needle
and small dark leaves; 564 mint, for centre of each, do not draw around them. 02 embroidery, embroidering from both sides of
small light leaves; 3863 mid-brown, Step three Lay the drawing face-down over the the fabric to create both flat and looped areas,
for berry stems; 350 red, for berries; embroidery hoop and draw over the pattern on some simple running stitch with a regular
Ecru, for French knots the back of the paper. This will imprint the needle and French knots also with a regular
Q Basic sewing kit drawing from the front of the paper onto the needle. We used three strands of cotton for all
fabric. You may need to re-tighten the fabric of the embroidery, apart from the French knots
NOTES once you’ve done this. which use six strands to create fuller, more
Q The tension in the weave of your prominent knots.
fabric is important for punch needle MAKING THE FELT FLOWERS Step two For the leaves, berry stalks and some
embroidery, so test a sample first. Step one Using the petal template provided, cut of the pine fronds we used punch needle
Q Download the template from www. out 30 petals. stitches on the front of the fabric, which means
simplysewingmag.com/downloads Step two Take five of the petals and arrange the loops are neatly hidden on the back. You
them so they slightly overlap around one of the could use regular embroidery techniques if you

66 WWW.SIMPLYSEWINGMAG.COM
 03 04

07 08

don’t have a punch needle, but a punch needle

will give added texture. We then used a regular
sewing needle to sew the thinner pine fronds in
a simple running stitch. 05
Step three Use a shorter loop stitch (punching
from the back of the fabric if using a needle
punch) for the berries.
Step four Sew some chunky French knots
dotted around to give a snowy, wintery feel. 06

FINISHING OFF
Step one Once the embroidery is complete, snip
through the unused fabric in the middle ring in
lines from the centre to the edge, so that you
can fold the fabric back. 07
Step two Trim the outer edge of your fabric to
approx 3cm (1¼in).
Step three Turn the embroidery over and lay it
face down. Lay a piece of felt on the back. Feel
for the indent between the two rings of the
larger hoop and use a pencil to draw all the way
around that indent. Repeat to mark the indent
of the inner hoop onto the piece of felt.
Step four Cut out the ring of felt you’ve drawn
and lay it on the back of the embroidery.
Carefully tuck the inner and outer edges of your
excess fabric under the felt, pinning along both
edges as you go. 08 Love hand-stitching?
Step five Neatly hand-sew the felt to the canvas Swap felt for thread
around both the inner and outer edges to hold and embroider the
flowers in satin stitch.
the backing in place to finish.

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 67

 a good read

PIECE BY PIECE
From restoring antique furniture to its former glory to breathing new life
into shabby lampshades, upholsterer and teacher Joanna Heptinstall
shares why she's so passionate about traditional craftsmanship.
Written by Sarah Dawson.

here’s something enchanting about passion for the art of upholstery. always on the cards. “I discovered upholstery

T upholstery; the act of skilfully bringing

a neglected piece of furniture back to
life, or even transforming a plain chair
into a work of art, seems so full of care
and passion it’s no surprise that this
artisanal craft is attracting new fans.
Joanna Heptinstall is one of the women
leading the charge of creative and talented
British upholsterers. She's dedicated to
Growing up surrounded by a family of
creatives, it makes sense that Joanna has
chosen such a hands-on, artisanal career.
“All of the females in my family were sewers,
including some professional dressmakers,
wedding dress makers and glove makers, so
sewing was part of our everyday language. In
fact, it was so deep into my family’s culture to
sew – and with professional skill – I believed
almost by accident,” Joanna smiles. “I was
a freelance journalist in my mid-20s and was
sent by Homes & Gardens magazine to write
a piece about upholstery courses at the
Traditional Upholstery Workshop in Wales.
I fell in love as soon as I walked into that
shed. It was the earthy smell of hessian and
balls of twine, the fact that upholstery is
traditional, practical and creative all at the
keeping these traditional skills alive with I could do it, too. As a toddler, my mother same time. I knew at once that I wanted to do
professional courses and workshops at the would give me a pair of small, sharp, thread- it and felt so relaxed and happy. It was an
Traditional Upholstery School, which she snipping scissors and some old magazines to epiphany! I stayed the whole week, loved
founded in 2016. Based in a pretty Wiltshire clip up. I’ve never had a problem with cutting every minute of it, was good at it. I then came
village, the school has gone from strength to straight lines!” she recalls. home and enrolled on what was to be one of
strength, thanks in part to Joanna’s clear However, working with furniture wasn’t the last City & Guilds upholstery courses,

68 WWW.SIMPLYSEWINGMAG.COM
 a good read
straight away. I have always loved working can start passing on these skills, but that They may have worked in IT, or teaching, and
with my hands, and in upholstery I had found dream has always been there,” she explains. are now searching for something more
a genuinely enduring and creative craft that “When the opportunity arose about eight creative, and to be able to work for
I could make a living from.” years ago to run a local evening class, I took themselves,” reveals Joanna. This influx of
it. I loved teaching. It was hugely rewarding, new female talent is something Joanna has
A NEW DIRECTION great fun and very sociable. I went on to noticed across the industry as a whole. “Since
Having that instant connection with a craft is teach at Denman, the WI craft school in I trained 20 years ago, upholstery has
something very special, and Joanna knew Oxfordshire, which gave me great confidence become a female-dominated trade,” she
exactly what direction she now wanted to in my teaching abilities.” explains. “Whereas it used to be mainly men
take her life. “Upholstery, for me, was never It was around this time that she decided to in sheds, more than 90 percent of newly
a hobby. I was sure from the very outset it take a leap of faith and start up a school of trained upholsterers are now women, many
would be my career,” her own. “I knew coming into the trade as their second career,
she explains. Joanna I was ready to launch so they are bringing a lot of business
can still remember "OVER 90 PERCENT OF NEWLY TRAINED the Traditional confidence and creativity with them.
her first project – “It’s Upholstery School
a bit like your first UPHOLSTERERS ARE NOW WOMEN, MANY when some of my
kiss,” she laughs, “and
just as squirmy!
COMING INTO THE TRADE AS THEIR SECOND students asked me to
teach them a diploma
I remember taking CAREER, BRINGING A LOT OF CREATIVIT Y." – enough core skills
two weeks to re- for them to work as
upholster a set of upholsterers too. So,
drop-in dining seats – a job which should I had some students (well, three!), and all
have just taken me a day or two.” I needed was premises. The rest I knew
From here, Joanna worked hard to hone would be sorted as I went along.”
her skills, although teaching was always The jump was worth it, as Joanna’s school
something she aspired to. “Right from the is now a huge success, with courses regularly
very beginning, I thought how wonderful it getting fully booked with students keen to
would be to run an upholstery school – just take on a new challenge. “Our students can
like the one I first trained at all those years be all ages and from all backgrounds, but the
ago. You have to know your craft inside out majority tend to be women who already have
and do many years of bench time before you a career and are looking for a change.

Upholstery often involves stripping a

chair right back to its frame – a step
Joanna relished with one of her favourite
projects, her own sofa, "which needed
totally rebuilding – it took me four weeks
non-stop and I love it.”

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 69

 a good read

It’s making it a very vibrant craft and allowing “My years working on craft magazines Upholstery School. “I absolutely love the
experimental and bespoke styles to flourish.” stood me in good stead, so I knew what was processes; making the templates, cutting and
Joanna thrives in her teaching role and required from me." Ever the teacher, Joanna's sewing, then fitting and pinning. It allows me
loves to pass on her knowledge to those book takes us through all the key skills to exercise my upholstery skills and sewing
starting out. “It’s my job to push my students needed for lampshade-making. "The shades know-how to a high standard of finesse,” she
to achieve the best they can, and to uphold for my book were chosen to explain core explains. “It started when I spotted a tatty
the highest standards of a traditional craft techniques, each one building on the one 1950s lampshade frame in a shop window in
that is centuries-old. I am very driven by before. Aesthetically, Bath. I bought it, took it home and spent
technical excellence and upholding the I aimed to please as many people as I could several evenings – and several attempts! –
traditional methods,” says Joanna. “That said, and offer ideas which readers could make trying to recover it. Back then, there were no
upholstery is hugely rewarding and we have books on lampshade-making, no-one was
a lot of fun. I try to do it in a friendly gift- running any courses and there were few
giving way, rather than coming across as "MAKING AND RESTORING LAMPSHADES people who could remember how to do it.
a big know-all, though!” But I had memories of my aunt making silk
BECAME MY OWN CREATIVE OUTLET. I HAVE shades for her wall lights when I was little, so
BRIGHT IDEAS GREAT FUN PLAYING WITH FABRIC I knew it was possible. There were great
As well as the school, Joanna has also been similarities with stretching fabric over an
busy writing a book on another big love of COMBINATIONS AND TRIMMINGS." iron-framed chair, so as an upholsterer I was
hers, lampshade making. Sewing Lampshades well-armed with the skills. It took a few goes
is a comprehensive step-by-step guide to but I worked it out. After that I started
creating 18 beautiful lampshade designs, their own with their choices of fabrics and collecting old lampshade making books,
covering everything from measuring your trimmings. The hardest thing was fitting it all some written as early as the 1920s.”
fabric, to choosing a frame shape and in. I hadn't reckoned on writing a book and Working with lampshades certainly has its
crafting your final shade. But how did the setting up an upholstery school in the same benefits, not least due to the size. “They are
idea for the book come about? year. That was tough going and I didn't sleep much smaller and more portable then chairs
“At the time, there wasn't a good modern much!” Lampshade-making is a specialised – something that’s very important when
book on lampshade-making, so I decided to area of upholstery, but one that Joanna is juggling shed-life with family life!” Joanna
do one! I contacted Search Press, who said deeply passionate about – even offering laughs. “Plus, whereas with upholstery I was
yes, and then off I went,” reveals Joanna. lampshade-making courses at the Traditional usually working to a customer’s brief, making

70 WWW.SIMPLYSEWINGMAG.COM
 a good read

Left: Joanna teaches lampshade-making

classes at her school, and also enjoys the
creative outlet the craft offers her outside the
classroom, too. "I'm making them for myself,
which gives me freedom to play. I strongly
believe you need to give yourself freedom
from commercial pressures in order to come
up with something innovative.”

and restoring lampshades became my own

creative outlet. I have great fun playing with
fabric combinations and hand-making the
trimmings.” Having such creative control over
what she’s making means that Joanna can
enjoy experimenting with lots of different
shade styles. “For my current lampshades,
I am inspired by the very nature of the
handmade technique, so the stitches and
structure are at the fore of the design, not
hidden behind frills and braid. I'm making
them for myself, which gives me freedom to
play. I strongly believe you need to give
yourself freedom from commercial pressures lesson-planning and drinking endless mugs Upholstery is a specialist skill, and is becoming
in order to come up with something of Earl Grey tea.” Sounds heavenly to us! more sought-after as people realise that it is
innovative and creatively courageous.” Creativity runs through her blood, but better to revive and restore, than to throw
typically with so little time she doesn’t get furniture away. I feel lucky to be living and
PROJECTS AND PLANS a chance to work on anything much, other working in an era with a wealth of creative
It’s an exciting time for Joanna's school, and than her upholstery. “I love decorating, but and talented people,” she smiles. If Joanna has
she has her hands full with more big plans to am so busy right now that this rarely gets left you feeling inspired to take your first step
develop it even further. Splitting her time beyond reading home style magazines and into upholstery, here’s her advice: “Enrol on
between teaching and planning lessons and dreaming up ideas,” she smiles. “I do have an a good course, work hard, learn your lessons
projects, her days are undeniably busy, but odd love of crocheting dish cloths, which well and enjoy every step of the journey.” See
she couldn’t be happier. must be the most un-glamorous craft of all! you on one of Joanna’s courses very soon...
“A teaching day always starts with me It usually happens on the sofa at the end of To find out more about Joanna's work visit
sweeping the floor with my huge sweeping a very long day – people do seem especially www.traditionalupholsteryschool.co.uk
brush and quietly focussing on the day’s key thrilled to receive them as gifts.” Of all the
tasks. Once the students arrive the workroom projects she’s worked on, there is, however,
is then full of bustle and chatter, laughter and a clear favourite. “My own sofa,” she reveals. TRY LAMPSHADE-MAKING
hammering. I’m always in the middle of it, so “It’s a huge camel back sofa that I bought at Learn key lampshade-making skills and
the day tends to fly by. If the weather's dry, an auction in Bath, which needed totally create 18 stunning shades with Joanna's
we take a lunchtime break and sit by the rebuilding, including a sprung seat, back and book, Sewing
pond, which is just outside our warehouse arms, all totally reupholstered in horse hair Lampsades, with
building,” Joanna explains. “On ‘planning using traditional methods. It took me four tailored, pleated,
days’, when I have my workroom to myself, weeks non-stop and I love it.” faux-pleated and
my day is very different. I have a favourite The future is looking very bright, not only loose-cover shade
workbench by the window, my dog, Nellie, is for Joanna and her school, but for the craft designs to work
usually snoozing in a chair next to me and, of upholstery in general. “My plans are to your way through.
apart from Radio 4 burbling along in the continue the school’s aim to train its students £14.99 from www.
background, it is peaceful. I can spend many to an excellent standard of craftsmanship, in searchpress.com
contented hours in there, upholstering, a supportive and creative environment.

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 71

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jewel brights
Let your sewing skills shine with
Michael Caputo’s patchwork quilt in a
contemporary diamond design.

Photos: Emma Mitchell © CICO Books

Diamond Qui t
YOU WILL NEED 01 02
Q 30 fat quarters, see notes for details
Q Wadding: 128x203cm (50½x79in)
Q Backing fabric: 1.85m (2yds)
Q Binding fabric: 45x115cm (17¾inx½yd)
Q White cotton thread, for piecing
and quilting
Q Seam roller (optional)
Q Matching thread
Q Basic sewing kit

NOTES
Q Download the templates from www.
simplysewingmag.com/downloads
Q Press all fabrics before cutting out.
Q The fabrics used are from Well Said by
Sandy Gervais for Moda Fabrics. 03 04
Q The sample quilt is made using five
colour groups (blue, green, orange,
navy and white) and each colour
group has six designs, with a total of
30 fat quarters.
Q The kite pattern in the quilt is created
by sewing a series of long and short
triangles together. Each kite is made
up of one long and one short triangle,
so consider the long/short pairings
when cutting out your fabrics.

FINISHED SIZE
113x189cm (44½x74½in).

CUTTING OUT attach the next triangle. Work your way across
Step one Download, print and cut out the the row. Press the seam to the left each time. 03
triangle templates. Step six When all rows are complete, assemble
Step two When marking, remember to rotate them by inserting a pin through the point of
your templates to minimise wasted fabric. a triangle and then match it with the matching
Step three From the fat quarters cut: point on the underside row. Pin at each seam
Binding: 2in (6.5cm) wide strip from the long point to ensure the corners line up. 04
edge of each piece. Step seven Sew using a ¼in (6mm) seam
Step four From the fat quarters cut: allowance then press all seams downwards.
Long triangles: 56 using template A.
Short triangles: 50 using template B. ASSEMBLING THE QUILT
Step one To make a quilt sandwich, place your
ASSEMBLING THE QUILT TOP backing fabric RS down, the wadding on top,
Step one Arrange the triangles on your work and then the quilt top on top with the RS facing
surface, using the kite quilt pattern as a guide. up. Make sure all of the layers are nice and
Ensure the colours match up so the sets of short smooth, with no wrinkles.
and long triangles will form the kite shapes. Step two Tack the three layers together, using
Step two When you are ready to start attaching safety pins or your preferred method.
your rows, take the first three short triangles Step three Quilt as desire – the sample quilt has
and place them in front of you. Take the middle been quilted using a walking foot with a slightly
triangle and pin it right sides (RS) together on longer stitch length of 3.5mm, and echoes the
the left triangle, aligning the right-hand edge. shape of the kites. Once the first long top-to-
Sew using a ¼in (6mm) seam allowance. 01 bottom quilted line had been completed, the
Step three Press the seam to the left and then next row was sewn from the top again and
attach the next triangle. Repeat until the first spaced by the width of the walking foot. This diamond quilt design
row is complete. Label as ‘Row 1’ and set aside. Step four Trim the edges so that all edges of the is one of 25 contemporary
Step four To make the tall triangle rows, the quilt sandwich are straight and aligned. quilting projects in Modern
process is the same. Place two tall triangles RS Step five Prepare the binding and bind the Quilting by Michael
together, with the long edges aligned. 02 edges of the quilt, mitring the corners. Caputo, published by CICO
Step five Pin then sew using a ¼in (6mm) seam Step six Fold the binding over to the back of the Books, £12.99. See more at
allowance. Press the seam to the left and then quilt and slip stitch in place by hand to finish. https://makeetc.com/

76 WWW.SIMPLYSEWINGMAG.COM
 StaR OF
WONDER
A little clever folding and weaving is
all you need to whip up Anna Alicia's
origami star baubles for your tree.
origami stars
01 02 03

04 05 06

YOU WILL NEED CUTTING OUT the central weaving, then work around, folding
Q Quilting-weight cotton fabric: Step one From the cotton fabric cut: the second and third. At the fourth strip, fold
30x32cm (12x13in) per star Star strips: four strips 30x8cm (12x31⁄8in). but also tuck the strip under the first.
Q Gold cord: 1-2mm thickness x 1m Step four Take one of the strips that is closer to
(1⁄8in thickness x 11⁄8yd) PREPARING THE STRIPS the front of your woven piece and fold it at an
Q Large needle Step one Fold one strip in half wrong side (WS) angle, and then fold again at an angle to create
Q Basic sewing kit together, so the long edges meet, and press a point, as in the image. 05
with a hot iron. Unfold the strip and now fold Step five Fold this point in half, towards your
FABRICS USED both long edges to meet the centre crease you weaving, and tuck the raw end underneath the
The fabrics used are from the have just made. Press along the folds. square below – there will be a raw end sticking
Winterfold collection by Dashwood Step two Re-fold along the centre crease and out at this stage. 06
Studios. Icicles, Copper Metallic. Trees, press again. 01 Step six Repeat this for each of the strips that
Copper Metallic. Snowflakes and Frost, Step three Fold a strip in half with the short are closer to the front (which will mean skipping
Copper Metallic. For stockists visit ends meeting and overlap one end by approx every other strip). Turn over and repeat on the
www.dashwoodstudio.com 2.5cm (1in). Press the fold. 02 other side with the remaining strips.
Step four Repeat these steps with the three Step seven Gently pull one of the raw ends
remaining strips. a little further through, trim and then pull the
point back into place. Repeat for each point on
FOLDING THE STARS both sides.
Step one Take four of the strips in the same
fabric and lay out with the shorter sides on top. FINISHING OFF
Arrange two of the strips as in the image, so Step one Thread the cord onto a large needle.
that the second strip sandwiches the first 2cm Pass the needle through the inside of the star,
(¾in) from its folded end. 03 from the middle of the bottom edge to the
Step two The third strip then sandwiches the middle of the top edge. Pass the needle
second in the same way. Finally, the fourth between the woven layers and not through to
sandwiches the third then is tucked through the the outer fabric.
folded end of the first. Gently pull the raw ends Step two Pass the needle back down on the
until they tightly and neatly fit together. 04 other side of the inner panel. Tie the ends in
Step three Turn your woven piece over. Fold just a double knot and trim, then give the loop at
the top, longer piece of one of the strips over the top a little tug on one side to hide the knot.

78 WWW.SIMPLYSEWINGMAG.COM
 WATCH IT • LOVE IT • SEW IT

Watch us LIVE, daily. Share your passion! Learn and be inspired

On Freeview 73, Join our community by our guest designers
Sky 687 or online. on social media. and free online guides.

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 a FREE Mettler Christmas Collection Thread Pack worth £14.99 when you enter the code SSMTPCC at checkout. This offer is for new customers only and can be used on web and auction
products. This offer is valid from the 1st November until 31st December 2018. Only one use per customer. All offers are subject to availability. See full T&Cs at www.sewingquarter.com.
 Adorn your tree in
fabric scraps with these
Scandi-style baubles

Our origami stars (p77) have us inspired

to deck the halls with as much fabric as
possible this Christmas! And these scrap-
happy baubles from Scandi Christmas by
Christiane Bellstedt Myers are the kind of
speedy project we need to fit in around the
This bauble project is one festive rush. There's no sewing required to
of over 45 festive things to make them – simply press the fabric edges
make in Scandi Christmas by into a styrofoam ball using a sharp knife,
Christiane Bellstedt Myers, add twine, and voila! If you really can't
published by CICO Books resist getting your sewing kit out, though,
(£12.99). Photos by Caroline you could also hand-stitch the pieces in
Arber © CICO Books. Visit place, or even add some embellishments.
https://makeetc.com/

80 WWW.SIMPLYSEWINGMAG.COM
how many sleeps?
Kids will love Kirsty Hartley’s tree
advent, with detachable shapes for
them to decorate it with sparkles,
stars and pom poms galore!
adv nt ca ndar
01 02 03

07 08 09

YOU WILL NEED CUTTING OUT (¼in) from the edge to secure, and then repeat
Q Green felt: 70x150cm (28x60in), for Due to its narrow width, you may need to piece for the base. 01
the tree together the Bondaweb to create an entire tree/ Step four Cut a 12cm (4¾in) length of ribbon
Q Red felt: 40x25cm (16x10in), for the base shape. and fold it into loop. Fold the ends of the ribbon
base Step one Download, print and cut out the under and stitch across the folded base of the
Q Orange felt: 40x25cm (16x10in), for templates. ribbon to secure it to the top of the tree,
the pockets Step two From the green felt cut: backstitching to secure. 02
Q Bondaweb: 2mx44cm (2¼ydx17in) Tree: two using the template. Step five Thread your needle and hide the end
Q A4 sheets of brightly coloured felt, Step three From the red felt cut: knot between the two felt layers, and bring the
for the decorations Base: two using the template. needle up to the right side (RS). 03
Q Printable cotton poplin (optional) Step four From the orange felt cut: Step six Securely hand-stitch each of the six
Q Black stranded cotton Advent number strips: three strips each pom poms to the ‘branches’ of the tree. 04
Q Ribbon to decorate and form a loop 40x7.5cm (15¾x3in).
for hanging Step five From the Bondaweb cut: MAKING THE BASE
Q Assorted glitter fabrics Tree: one using the template. Step one Bond the base pieces together in the
Q Assorted ric-rac braid and ribbons, Base: one using the template. same way as the tree pieces.
to decorate Step six From the bright felt sheets cut: Step two Stitch around the outer edges 5mm
Q 6 pom poms Decorations: two for each of the decoration (¼in) from the edge to secure.
Q Self-adhesive Velcro using the templates.
Q Wadding, to fill the shapes PRINTING THE ADVENT NUMBERS
Q Embroidery needles PREPARING THE TREE AND BASE To print the numbers onto the cotton poplin you
Q Basic sewing kit Craft felts are likely to melt under a hot iron, so will need access to a desktop printer. Alternatively,
test the temperature on a scrap first. Don’t press you could appliqué or embroider numbers onto
NOTES for too long in any one area, just enough to the pockets.
Q Download the templates from bond the felt pieces together. Step one Print the number template onto the
www.simplysewingmag.com/ Step one Back one side of the felt with cotton poplin sheets following the
downloads Bondaweb, pressing the paper side to the manufacturer’s instructions. Mark the eight
Q We used printable cotton poplin wrong side (WS) of the felt. sections onto each orange felt strip before
from www.cottonpatch.co.uk for Step two Layer the felt panels together and pressing the numbers in place to get the
the numbers. press the backing felt piece to bond. positioning correct. Cut out all 24 squares. 05
Step three Stitch around the outer edges 5mm Step two Peel back the backing sheet to reveal

82 WWW.SIMPLYSEWINGMAG.COM
 adv nt ca ndar
04 05 06

10 11 12

the adhesive bonding web. 06 main tree. Get kids involved in

Step three Place the squares into the marked Step two Once the pieces have been bonded designing their own
sections, cover with a soft cloth and press each together, draw around the template on the WS baubles and shapes
to ‘hang’ on the tree.
of the number squares to the orange felt. of the felt or fabric (this will be whichever side
will be the back of the decoration). Using a small
APPLIQUÉING THE NUMBERS stitch length, sew carefully 5mm (¼in) within
Step one Cut felt for each number using the the marked shape to define. 08
template. Mark the eight sections onto each Step three The decorations can be embellished
orange felt strip before pressing the numbers in with stitch patterns to highlight areas such as
place to get the positioning correct. the reindeer antlers. 09
Step two Topstitch the numbers to the orange Step four If you are making a stuffed decoration,
felt – you could also experiment with hand first cut out the chosen shapes from the felt
embroidery stitches such as blanket stitch, or using the templates.
machine decorative edge stitches. Step five Decorate the felt pieces with stitches,
Step three Arrange the numbers on your ironing beads, ricrac, braid, etc. before assembling.
board, pressing the numbers eight per row into Step six Sew WS together, leaving a turning gap.
place (take care with the temperature of your Step seven Stuff the decorations and topstitch
iron when pressing the felt). the turning gap closed. 10
Step four Pin then sew the orange felt strips to
the red tree base along the lower edge and MAKING THE GLITTER STAR DECORATIONS
sides of each strip. Step one Trace the star template onto the glitter
Step five Sew along the marked lines to create fabric and cut it out. Sew the star onto a piece of
eight pockets, back stitching to secure. 07 felt before cutting out. Layer this with a second
Step six Overlap the assembled base and the colour of felt if desired. 11
bottom edge of the tree by 1cm (3⁄8in) and Step two Trim back the felt backing. You can
topstitch on the base to secure it to the tree. trim right up to the glitter fabric, or leave a felt
border around the outside. 12
MAKING THE FELT DECORATIONS
Step one The flat decorations can be made by FINISHING OFF
bonding layers of felt together to create flat Step one Add the hook side of self-adhesive
shapes, using the same technique as for the Velcro to the reverse of each decoration.

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 83

a snowman!
No need to wait for a white Christmas –
you can sew your own frosty friend with
Jo Carter’s smiley snowman softie.
snowman toy
01 02 03

07 08 09

YOU WILL NEED Q The templates include seam CUTTING OUT

Q Fabric A: white fleece fabric, allowances where necessary. Step one Download, print out and then cut out
50x50cm (20x20in), for the main Q Arrows on the pattern pieces the templates.
body indicate pattern/pile direction for Step two We recommend that you draw out the
Q Fabric B: cotton fabric, 22x22cm marking and cutting out. pattern pieces onto the reverse of the fabric
(9x9in), for the arms Q When the pattern specifies to cut before cutting.
Q Fabric C: cotton fabric, 10x10cm two or more of a pattern piece, after Step three From Fabric A, cut out the following
(4x4in), for the nose marking out half of the pieces pieces:
Q Fabric D: fleece fabric, 25x56cm required the template needs to be Face: Cut one.
(10x22in), for the hat and scarf turned over to mark out the Side head: Cut two.
Q Fabric E: cotton fabric, 16x36cm remaining half so that the pieces are Tummy: Cut one.
(7x14in), for the hat lining cut as mirror images. Side body: Cut two.
Q Pair of 12mm black plastic safety Q This snowman has been made Base: Cut one.
eyes mainly using stretchy fleece fabric Hat pom pom: Cut one.
Q Black embroidery thread so clipping into internal curves and Step four From Fabric B cut out:
Q Polyester toy filling making notches around external Arm: Cut four.
Q Wadding/felt scrap: 12x12cm (5x5in) curves is not always instructed for Step five From Fabric C cut out:
Q Pair of buttons: 18mm (¾in) fleece. When clipping always take Nose: Cut one.
diameter care to avoid any stitching. Step six From Fabric D cut out:
Q Basic sewing kit Q Due to the curved shape of the Hat outer: Cut one.
snowman using cotton fabric is not Scarf: Cut one measuring 7x56cm (2¾x221⁄8in)
FINISHED SIZE recommended, with the exception Step seven From Fabric E cut out:
Approx 30cm (12in) tall with the hat or of the arms, nose and hat lining. Hat lining: Cut one.
26cm (10in) tall without the hat. Q As the arms are sewn directly into
seams, sew over the joins so they MAKING THE HEAD
NOTES are well secured and to reduce the Step one With the right sides (RS) together, sew
Q Download the templates from likelihood of them being pulled out. a side head piece to its corresponding side of
www.simplysewingmag.com/ the face. Repeat to attach the other side head to
downloads the remaining side of the face. 01
Q Use a 6mm (¼in) seam allowance Step two Close the dart in each of the side head
unless otherwise stated. pieces with RS facing, tapering the end. 02

86 WWW.SIMPLYSEWINGMAG.COM
 snowman toy
04 05 06

10 11 12

MAKING THE BODY Sew a few lines of quilting to

Step one Sew a side body piece to its create a realistic carrot nose
detail for your snowman.
corresponding side of the tummy with RS
together. Repeat to attach the other side body
to the remaining side of the tummy. 03
Step two Place two mirror-image arm pieces RS
facing and sew around the sides, leaving the
bottom end open. Clip the seam allowance at
the internal corners and clip V-shaped notches
around the external curves. Turn it RS out, stuff
and then tack the end closed. 04
Step three With RS together, fold the dart over
in a side body piece and sandwich the arm in
place – checking that it is facing the correct way
up – at the bottom of the dart, pinning in place
if necessary. Sew the dart closed.
Step four Repeat for the remaining arm and side
body pieces. 05

ASSEMBLING THE SNOWMAN

Step one Sew the bottom of the head to the top
of the body with RS together. 06
Step two Starting at the back of the body, sew
the base to the bottom of the body with the RS
of the fabric together and ensuring that the
markers line up. 07
Step three Make the smallest holes possible
through which to allow the shank of the eye in
the face piece where marked. Fit the eyes into
place according to manufacturer’s instructions.
Sew the back of the head and body, leaving

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 87

snowman toy
13 14 15

16 17 18

a 6-8cm (2-3in) opening in the back. 08 Clip the seam allowance around the internal Ensure the pom pom,
Step four Turn RS out and stuff. corners and clip V-shaped notches around the joins and back seam
are sewn securely
external curves. 13 for durability.
MAKING THE FACE Step two With RS together, sew the back of the
Step one With the RS facing up, place the carrot outer hat together, continuing down to sew the
nose on top of the scrap of wadding/felt and back of the lining together. 14
quilt horizontal lines. Start quilting 6mm (¼in) Step three Line up the front centre dart in the
or so from the point as it may help to clip away hat outer with the seam along the back and sew
a little extra bit of the wadding at the tip of the this opening closed (similar to a boxed corner)
nose when turning RS out. 09 with RS together, tapering the ends of the seam.
Step two Trim away the excess wadding Turn the hat RS out through the same opening
overhanging the sides of the nose. RS together, in the lining. Topstitch around the bottom edge
fold the nose in half and sew along the side. Clip of the hat. 15
the seam allowance at the tip of the nose. 10 Step four As for the nose, hand-sew a running
Step three Turn the nose RS out and stuff. Hand- stitch around the edge within the 6mm (¼in)
sew a running stitch around the top within the seam allowance of the hat pom pom and gather
6mm (¼in) seam allowance and pull on the to form a cup shape. Add filling and then draw
thread to gather the end of the nose, folding up fully, folding the raw edges inside, and
the raw edges inside. Secure the thread to hold secure the thread to hold it into a ball shape. 16
the gathering in place and then hand-sew the Step five Hand-sew the pom pom to the hat,
nose to the face, sewing twice around to make sewing around twice to make sure that it is
sure it is well-secured. 11 secured in place. Close the opening in the top of
Step four Using three strands of black stranded the lining. 17
cotton, embroider a smile onto the face. Sew Step six Fold the scarf lengthways RS together
two buttons onto the front of the snowman, and sew the open sides together, but leaving See Jo Carter sewing
ensuring they are fully secured in place. 12 a 6-8cm (2-3in) opening in the long side. Clip her toys live on Sewing
the seam allowance at the two unfolded corners Quarter on Freeview 73
MAKING THE HAT AND SCARF and turn RS out. Sew the opening closed. 18 and Sky 687, at www.
Step one Close the centre dart only on the hat Step seven Adjust the stuffing in the head. sewingquarter.com, or
outer and lining pieces, RS together. Sew the Securely close the opening in the back and add www.youtube.com/
outer hat to the lining along the bottom edge. the hat and scarf to finish. sewingquarter

88 WWW.SIMPLYSEWINGMAG.COM
 109 MAKES, IDEAS & TIPS TO
GET YOU SEWING TODAY!

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B chRistmaS coUntdowN A
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 IncLudes

Back IssUes
PAPER
GIFTS from
£6.99 PER ISSUE

the Meg DreSs SIZES

6-20
the MatIlda DreSs s SIZES
6-20
the AisLi g DreSs SIZES
6-20
US 4 18 US 4 18
ES US 4 18
EUR 34 48 EUR 34 48 20 EUR 34 48

CroSs-Over DetAil nt ColLar DetAil

18
4 48
TasSel DetAil
Featu res an elega a chic a sweet
cross over neckl
ine with DRESS A + DRESS B Finished with
ine.
Finished with
high colla r neckl tassel fastening.
two ways to wear. DRESS A FRONT DRESS A + DRESS B
DRESS A FRONT

DRESS A BACK DRESS A BACK

ComFoRtaBle fit tie WaiSt Boho Look with a

knit fabrics, Featu res a gathe
red tie
A laid back style
Desig ned for FRONT
uette. fitti ng. and sleeves.
with a sleek silho waist for easy gathered skirt

DRESS B FRONT

DRESS B FRONT

2 StyLes 2 LenGths Knee LenGth BACK

dress lengths Includes two
skirt and
Includes an on
the knee
Includes two
ns to sew. options. wear.
and strap optio sleeve length DRESS B BACK skirt for easy
DRESS B BACK

IssUe 48 IssUe 47
Make a tie-waist dress, bowling bag, rule dress,
IssUe 46
Stitch a boho dress and top, 1950s-style skirt, circle
Make a party dress, quick-sew gifts, modern Xmas
decs, a gingerbread house toy and a circle skirt. children’s room makes and a classic rag doll toy. bag, home spa set, hexie cushion and teddy bear.

the Ev DreSs SIZES

6-20
the Lo DreSs SIZES
6-20
the den set SIZES
6-20
US 4 18 US 4 18 US 4 18
EUR 34 48 EUR 34 48 EUR 34 48

2 StyLes to2 sew sew

2 StyLes tospagh 2 SleEve OptIon s
lengths etti es with
Choose from Choose from Make the sleev
. the ls.
and colla r styles DRESS A + DRESS B straps or off cuffs or tie detai
es.
shoulder sleev
DRESS A FRONT DRESS A + DRESS B
DRESS A FRONT

DRESS + TOP

DRESS A BACK
PerFect FinIsh e
BegInner ProJect
hook and
DRESS FRONT

Made with a bodic Fastens with a

gs for a e sew.
linin g or facin DRESS A BACK eye for a simpl
fit-and-FlaResShaPe
look.
profession al
in the
Elastic bring
ine fit.
waist for a femin

DRESS BACK

DRESS B FRONT

DRESS B FRONT

RetRo Look ic
Maxi LenGth length
DreSs & topand
TOP FRONT

Inspired by class Featu res a maxi Includes a top

1940s tea dress
es. DRESS B BACK
skirt with an
elega nt dress. w
DRESS B BACK
patch-pocket
.
A-line silhouette
TOP BACK

IssUe 45
Make a 1940s-inspired tea dress, a boxy top, craft
IssUe 44 IssUe 43
Sew a statement maxi dress, boho top, beach bag, Make a summer dress and top, Sew Over It’s silk
room storage, retro accessories and crocodile toy. girafe toy, pineapple doorstop and shibori blind. cami, an everyday backpack and travel accessories.

2 Ways to OrdEr
Visit the website: www.sewingquarter.com
or call 0800 112 4433
*Calls will be charged at your local call rate, calls from mobiles may vary. All prices exclude p&p. All orders subject to availability.

Never miss an isue again, turn o page 16 and subscribe today!

 FRESH IDEAS WITH FABRIC

The guide ma on,

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 93
 FRESH IDEAS WITH FABRIC

The guide
HeiGhT
Back WaiSt LenGth
HOW TO MEASURE 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

YOURSELF ACCURATELY natural waist

High Bust/CheSt
Across the back,
ALWAYS MEASURE YOURSELF your garment as this can alter the under your arms and
BEFORE you choose a pattern size measurements slightly. Use a fabric Bust above the bust
to cut out. The sizes do vary greatly tape measure as it’ll curve around Around the
from pattern to pattern, so it’s your body well for accuracy. You fullest part
always best to measure yourself can measure on your own if you of your bust
accurately and then refer to the stand in front of a mirror, but, for
pattern’s size chart to find your best results, ask a friend to help so
size. The chart will usually be they can check the tape measure is
printed on the pattern envelope or sitting in the right places. Make
on the instructions inside. sure the tape measure sits snugly WaiSt
Measure yourself in your around you but is not pulled tight. Your natural
underwear and preferably in the Take the measurements shown in waistline, around
bra you’ll be wearing underneath the diagram and note them down. the slimmest part
of your waist

HOW TO USE A PATTERN

Preparing your fabric and cutting size you’re cutting and the style of
Hips
Around the fullest and
out your sewing pattern accurately garment. Many patterns have more widest part of your
is just as important as the actual than one option (or view) and each thighs and bottom
sewing. Wash your fabric before one can have a different layout.
you begin as fabric can shrink and
run. Once dry, press it well. CUTTING OUT

PATTERN MARKINGS
Lay your fabric flat and smooth it
PREPARING THE PATTERN out. Fold or place the fabric as
Patterns often come with several shown on the cutting layout. Lay
options of different finishes so you the pattern pieces in the order and
may have more pieces than you right side or wrong side up as Pleats: These lines are matched Arrows: Grainline arrows are used
need. The instruction sheet will tell shown. Check to make sure that up to create pleats on the cut to show which direction to pin the
you which pieces to use. Roughly the grainlines on the pattern are out fabric pieces. pattern on the fabric. The grainline
cut out all of the pieces outside the parallel with the selvedges by runs parallel to the fabric edge.
lines then press the pieces using measuring. Pin your pattern pieces
a dry iron on a low heat to remove carefully in place and cut around
the folds and creases. them through the fabric using
a pair of dressmaker’s shears.
CUTTING OUT THE PATTERN
Choose your size using your TRANSFERRING MARKINGS Notches: Shown as
measurements and the size chart. The markings on the pattern triangles or small
Cut along the corresponding lines pieces need to be transferred to lines, these are
Darts: These
on your pattern. When you reach the fabric. They’re really important marked on the
lines are for
any fiddly curves, take care to cut for matching up fabric pieces later edges and are
matching up to
along the correct size lines. and for positioning elements such mainly used for
create darts
as darts and pockets. You can mark matching up
within the
CUTTING LAYOUTS these with chalk, fabric markers, pattern pieces.
fabric pieces.
Choose the correct one for the snips on the fabric, or with small
width of fabric you’re using, the tacking stitches.

94 WWW.SIMPLYSEWINGMAG.COM
 CHOOSING AND BUYING FABRICS
IT’S IMPORTANT TO CHOOSE the correct fabric for 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
your pattern. Most patterns give suggested fabric qualities depending on their use but are ideal for
better to press it to one side to
types that will work best with the style of garment. sportswear and casual clothing.
reduce bulk but the pattern
Use this to guide you as some patterns need more Interfacing gives an extra layer of support to your
instructions will tell you this.
drape, body or structure than others. fabric – for example, to stiffen facings and collars.
Usually the seam allowances
Fabric can be made from natural fibres such as Choose an interfacing that’s slightly lighter than your
are left as they are as they help
cotton, linen, wool and silk or synthetic fibres such main fabric, and if you’re using a fusible (iron-on)
to strengthen the seam, but
as acetate, acrylic, nylon, polyester, rayon and option then always test it on a scrap of the fabric first
sometimes they cause too
viscose. All these fabric come in different weights, or as it can melt if the iron is too hot.
much bulk so they are trimmed
thicknesses, which suit different garments. Interfacing is available in different weights and as
to half their original width.
Lightweight fabrics are ideal for lingerie, nightwear an iron-on (fusible) or sew-in version. With fusible
If your fabric has a tendency
and summer clothing, and include cheesecloth, interfacing, press the shiny side to the wrong side of
to fray you should neaten the
chiffon, crepe-de-chine, georgette, lawn, muslin, your fabric. Tack sew-in interfacing to the wrong side
raw edges after you have
organdie, organza and voile. of the fabric pieces around the edges.
worked the seam. There are
Medium-weight fabrics, which work for dresses, If you’re buying fabric off a roll (or bolt) then you’ll
several ways of doing this. To
shirts, trousers and childrenswear, include calico, usually buy it by the metre. This is only the length of
machine-finish them, set your
cotton, crepe, dupion, linen, poplin and finer wool. the fabric you’re buying – the width depends on the
sewing machine to the zigzag
Heavy-weight fabrics are used for garments or width of the roll. Fabrics are sold in standard widths,
stitch then stitch close to the
projects needing more strength, like coats, jackets, which vary according to their purpose – for example,
raw edge all the way along. The
winter wear and bags. Canvas, corduroy, denim, dressmaking or quilting fabric generally comes in
zigzag must be small enough to
tweeds, velvet and wool are all in this category. standard widths of 112cm (44in) or 150cm (60in).
stop the fabric from fraying but
Some patterns require fabrics that are quite fluid Curtain or soft furnishing fabric is normally 137cm
large enough to enclose the
and have a good drape to make them hang properly, (54in) wide and is really useful for bags and aprons as
bulk of the fabric. Practise a few
such as a circle skirt or blouse. Synthetic or synthetic it’s thicker and stronger than dressmaking fabrics.
lengths and widths before you
mix fabrics such as rayon, challis, chiffon or The fabric requirements on the pattern instructions
begin. Alternatively, you can
lightweight jersey have a better drape to them. will tell you what length of fabric to buy, usually with
trim the raw fabric edges with
Stretch and knit fabrics such as jersey and lycra are two width choices. Some patterns, such as large
a pair of pinking shears. If you
virtually crease free and comfortable to wear. They 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 diferent 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.

Subscribe at www.simplysewingmag.com WWW.SIMPLYSEWINGMAG.COM 95

 FRESH IDEAS WITH FABRIC

The guide
GLOSSARY
DraPe
For a full glossary of sewing terms
visit www.simplysewingmag.com

in sewing such as zips, fasteners,

STITCH GUIDE
Use these basic hand stitches to complete your
A term used to describe the way lace and buttons. home and dressmaking projects.
a fabric hangs under its own
weight. Different fabrics have RigHt Side (rs) / WroNg Side (ws)
different drape qualities. The right side of the fabric, also LadDer StiTch
called the ‘public’ side, has the Used to join together and close
Ease design on it. The wrong side is the two turned-under edges invisibly, 2 3 5
The addition of extra fabric in other side – this is usually a little such as on a dress lining or soft
a pattern to allow the finished duller or faded on plain fabrics. toy. Bring the needle up at 1 on 1
4
garment to fit the body well. one side of the seam, then in at 2
Seam AllOwAnce on the opposite side and out at 3,
EdgEsTitCh The fabric between the raw or cut so the stitch is 3mm (1⁄8in) long.
A row of stitching on the very edge of the fabric and the seam is Push the needle back in the
edge of a garment, usually called the seam allowance. Your opposite side at 4 and out at 5. Repeat this to close the edges.
2-3mm (1⁄16-1⁄8in) from the folded pattern will tell you the required
or seamed edge. Used to hold seam allowance measurement.
the fabric edge neatly in place. This is usually 1.5cm (5⁄8in) for Slip StiTch
dressmaking, but can vary. This stitch is used most often for
FacIng hems where you need to stitch 3 2
This pattern piece is cut SelVedge a turned-under edge to a flat 1
separately to stabilise and create The finished woven edge of fabric, piece of fabric using small, almost
a neat finish on the edge of often with the fabric name printed invisible stitches. Bring the needle
a garment, such as the neckline. on it. The grain runs parallel to this up at 1 on the turned-under hem
and the bias diagonally. Called then back in at 2 and out at 3.
fat QuaRter selvage in the US. Make this horizontal stitch as
A term used to describe a cut small as possible so it can’t be seen from the front. Repeat this by
piece of fabric often used for StaYsTitChing making a vertical stitch back into the turned-under edge then
patchwork projects, usually A line of regular machine stitching continue in this way to complete the hem.
measuring 46x55cm (18x22in). usually worked 3mm (1⁄8in) inside
the seam line, often used to
FinIsHing/NeaTeNing raw EdgEs stabilise curved edges to stop Whip StiTch
This is done to stop the fabric them stretching out of shape. Whipstitch is used to join the
edges, particularly of a seam, edges of two fabrics together,
from fraying. It can be done by Tack/TacKing such as felt and other fabrics that
machine zigzag stitch, using an A line of temporary stitching used don’t fray. With the right sides
overlocker or trimming the raw to hold fabric pieces together together, bring your needle out at 2 1
edge with pinking shears. before machine sewing, worked in 1 on the front of the fabric, then
the same way as running stitch. over to the back of the other, and
GraIn/GraInLine Known as basting in the U.S. through and out at 2. Continue to
The lengthwise fabric grain, work small stitches close together over the top of the two fabric edges.
running parallel to the selvedge. TopStItcHing
A line of stitching worked 5mm
nap (¼in) from the folded or seam RunNing StiTch
Fabrics like velvet, corduroy and edge. Used to hold the seam in This can be used to gather fabric
fur have hairs or loops which all place and as a decorative finish. and as a decorative stitch worked
lie in one direction and are around the edge of a finished
4 3 2 1
called the nap, or pile. When UndErStiTcHing project. Bring the needle out at 1,
cutting out pattern pieces make A line of stitching worked through in at 2, then out at 3 and in at 4,
sure the grainline arrow always the facing and seam allowance and so on. Make the length of the
runs in the direction of the nap. 3mm (1⁄8in) from the seam to stop stitches the same length as the
the facing rolling to the outside of gaps between them for an even
NotIons the garment. Understitching will finish. You can work several running stitches on your needle at once.
Small tools or accessories used not be visible on the outside.

96 WWW.SIMPLYSEWINGMAG.COM
 PLUS: D
A BONU OWNLOAD
Easy-sew jumper S
VERSIONDRESS
Button-up skirt !
Quick scarf cape
Metallic clutch bag
Patchwork placemats
Faux fur homewares
Sweater refashion
Sequin collar
And more...

2 gifts
+for you!
ExcLuSive-to-us pattErns

SKIRT SET FROM

JENNIFER LAUREN
HANDMADE
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 my favourite thing

heart and home

Sentimental fabrics make Elspeth Jackson's simple stripe
rag rug cushion project a special keepsake piece.
"Although I’ve made far more complicated rag makes me smile and think of him, although
rug pieces over the years, this simple shirt he’s no longer with us.
cushion is still one of my favourite creations. As well as the sentimental attachment
It’s nothing fancy, but it’s special to me. I have to this cushion, I also really enjoyed
One of the things I love most about the rag making it. The cushion's simple striped design
rug technique is that it's the ultimate eco- meant that I could completely zone out and
friendly craft. You can transform any old craft in the moment.
clothing or fabric offcuts into something Rag rugging doesn’t require complicated
beautiful and unique for the home. techniques as it’s quite repetitive and there’s
Using fabrics that have a sentimental value very little you can do wrong, so it’s easy to be
– old baby grows, favourite dresses and mindful and relax."
school uniforms, for example – for a rag rug Find this cushion pattern and learn how to
project imbues memories and feelings into rag rug with Elspeth’s book 'Rag Rugs, Pillows &
the finished piece of homeware, which makes More' (£12.99, CICO Books) which can be bought
it truly special. at www.raggedlife.com, and make a bouquet of
This particular cushion was made using beautiful rag rug hydrangeas with Elspeth's
some of my grandad’s shirts and it always tutorial on page 63 of this issue.

98 WWW.SIMPLYSEWINGMAG.COM
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AVON
AUTUMN 2018
• Direct Sewing Machines, Bristol – 0117 9778216
BEDFORDSHIRE
• BSK Limited, Bedford – 01234 217096 AMAZING
• My Sewing Basket, Dunstable – 01582 969571
• Tudor Rose Patchwork, Oakley, Bedford – 01234 824983 ANNIVERSARY
BERKSHIRE
• Sew Devine, Reading – 0118 926 8664 OFFERS
BUCKINGHAMSHIRE
• Alans Sewing Machines, High Wycombe – 01494 527600 FROM £99
CAMBRIDGESHIRE
• Sew Creative Ltd, Cambridge – 01223 350691
• Sew Much To Do, Ely – 01353 664 000
CHESHIRE
• Allan Sheen Sewing Machines, Winsford – 01606 593554 MANCHESTER (GTR)
• Jaycotts, Chester – 01244 394099 • Bamber Sewing Machines, Manche
• J & P Sewing Machines, Warrington – 01925 633831 – 01617 077786
• Phil Morton Sewing Machines, Macclesfield • R. Bullock & Son Ltd, Wigan
– 01625 433131 – 01942 247836

CORNWALL MERSEYSIDE
• The Sewing Studio, Redruth – 01209 216942 • Affordable Sewing, Moreton, Wirr
– 01516 777755
DERBYSHIRE
• Elegance, Derby – 01332 382292 NORFOLK
• Ilkeston Sewing & Janome Centre, Ilkeston – 01159 307664 • Sew Creative, Norwich – 01603 3
• Sew Essential, Moira – 01283 210422 • Sewing Machine World, Kings Lyn
– 01553 773362
DEVON
• Exeter Sewing Machine Company, Exeter – 01392 275660 NORTHUMBERLAND
• Soft Touch Needlecrafts, Tavistock – 01822 617673 • The Sewing Box, Morpeth – 01670

DORSET NOTTINGHAMSHIRE
• Bournemouth Sewing Machines, Bournemouth • Cresswell Sewing Machines, Nottin
– 01202 424825 – 01159 267572
• Hansons Fabrics, Sturminster Newton – 01258 472698
• So N Sews, Weymouth – 01305 766411 OXFORDSHIRE
• Witney Sewing Machine Centre, W
ESSEX – 01993 704535 / 702772 NEW
• Creative Lady, Burnham on Crouch – 01621 928225
• Franklins, Colchester – 01206 563955 & 574758 SHROPSHIRE MO
• Franklins, Chelmsford – 01245 346300 • Sewing Machine Centre, Shrewsbu
• Home of Sewing by Regent, Ilford – 02084 780669 – 01743 343902 BRAND NEW
• Superstitch Machine Co, Leigh on Sea – 01702 478830 SOMERSET
• Bredons Sewing Machines, Taunto
OFFER
GLOUCESTERSHIRE
• The Patchwork Basket, Newent – 01531 822442
• West End Sewing Centre, Cheltenham – 01242 244025
– 01823 272450
SUFFOLK
MODEL GD8100 £299
Easy to use... Make eth! e
HAMPSHIRE • Franklins, Ipswich – 01473 221188
• Eastleigh Sewing Centre, Eastleigh – 02380 650808 • Sew Much To Do, Bury St Edmunds – 01284 755459

right choice first tim

• Hampshire Sewing Machines, Fareham – 01329 280499 SURREY
• Reads of Winchester, Winchester – 01962 850950 • All Surrey Sewing, Worcester Park – 02083 373444
• Sew Creative, Petersfield – 01730 858020 • C & A Sewing Machines, Cranleigh – 01483 267777
HEREFORDSHIRE • Woking Sewing Centre, Addlestone – 01932 352606
• Doughtys Fabric Warehouse, Hereford – 01432 353951 SUSSEX
HERTFORDSHIRE • Clothkits Ltd, Chichester – 01243 533180
• Chicks Embroidery, Letchworth – 01462 670007 • Eclectic Maker, Worthing – 01903 681000
• Rebecca Woollard Sewing School, Hatfield Heath • Hastings Sewing Centre, Hastings – 01424 423108
– 07887 654717 TYNE & WEAR
• Rona Sewing Machines, Waltham Cross – 01992 640250 • G Tully Sewing Machines, Sunderland – 01915 65 7995
• Sewfine Sewing Machines, Watford – 01923 693734 • Sewing Machine Sales, Whitley Bay – 01912 525825 CHANNEL ISLANDS
• Rachel’s Textiles Studio, Jersey – 01534 878877
KENT WARWICKSHIRE
• Ashford Sewing Centre, Ashford – 01233 620948 • Coventry Sewing Centre, Coventry – 02476 222134 ISLE OF MAN
• Barcham Sewing Centre, Whitstable – 01227 264271 • Joan’s Wools & Crafts, Onchan – 01624 626009
• Maidstone Sewing Centre, Maidstone – 01622 670254 WILTSHIRE
• The Sewing Space, Kent – 01303 261329 • Franklins, Salisbury – 01722 554466 IRELAND
• The World of Sewing, Tunbridge Wells – 01892 533188 • West Wilts Sewing Machine Co., Trowbridge • Sew N Knit Belfast, Belfast – 02890 456015
– 01225 753792 • Sew N Knit Lisburn, Lisburn – 02892 670908
LANCASHIRE • Singer Sewing Centre, Ballymena – 02825 640034
• Hobkirk Sewing Machines, Blackburn – 01254 693555 WEST MIDLANDS
• Lestan Sewing Machines, Nelson – 01282 614511 • Brewers Sewing Machines, Wolverhampton SCOTLAND
• SA Sewing Machines, Oldham – 0161 6243181 – 01902 458885 • Aberdeen Sewing Machines, Aberdeen – 01224 478555
• SA Sewing Machines, Rochdale – 01706 355529 • D C Nutt Sewing Machines, Walsall – 01922 497603 • Abbey Sewing Machines, Dumfries – 013872 49580
• Transworld Sewing Machines, Leigh – 01942 608028 • Frank Nutt, Kings Heath – 01214 443978 • David Drummond, Edinburgh – 01315 397766
• L & M Nutt, Sutton Coldfield – 01213 735497 • ESC, Fochabers – 01343 823961
LEICESTERSHIRE • S Nutt Sewing Machines, Birmingham • Pembertons Sewing Machines, Stirling – 01786 462993
• Cresswell Sewing Machines, Leicester – 07798 625 278 – 01213 272828 • Quilt Creations, Inverness – 01463 719369
• The Sewing Café, Hinkley – 01455 698034 • The Sew Studio, Dunfermline – 01383 621894
WORCESTERSHIRE
LINCOLNSHIRE • Creative Hands 2, Worcester – 01905 24940 WALES
• Couling Sewing Machines, Lincoln – 01522 521841 • Inkberrow Design Centre, Redditch – 01527 69100 • Butterfly Fabrics, Cardiff – 02920 470808
• L & C Fabrics, Cleethorpes – 01472 600874 • Cliffords Sewing Machines Ltd, Swansea – 01792 655928
• Seweezy, Gainsborough – 01427 614570 YORKSHIRE • J & B Sewing Machine Co Ltd, Cardiff – 02922 402418
• Arcade Sewing Machines, Huddersfield • Newport Sewing & Craft Centre, Newport
LONDON (GTR) – 01484 429808 – 01633 284646
• All Redgewell Sewing, South West London • C & G Sewing Machines, Bradford – 01274 306352 • Sewing Machines Direct, Wrexham – 01978 851235
– 02083 373444 • Electra (DA) Company, Doncaster – 01302 340369
• Lewisham & Deptford Sewing Machines, Deptford • Fabric Mouse, Richmond – 01748 811593
– 02086 921077 • L & C Fabrics, Hull – 01482 325072
• SM Sewing Machines Ltd, London – 02036 891222 The ‘Sewing with Style’ offers are available from Janome sewing
• Sewing Centre, Scarborough – 01723 363167 machine retail outlets nationwide. Promotion starts 1st September
• The Sewing Centre, Battersea – 02072 283022 • White Rose Sewing Machines, Harrogate
• The World of Sewing, Pratts Bottom – 01689 638638 until 2nd January 2018. (All offers subject to stock availability).
– 01423 503767
• Wimbledon Sewing Machine Co Ltd, Tooting Bec
– 02087 670036

www.janome.co.uk The world’s leading sewing machine manufacturer

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