This month I wanted to try something a little bit different, just for kicks. I picked a dress pattern in a style I wouldn’t normally go for, and a fabric I wouldn’t normally go for.
The dress pattern is Cynthia Rowley for Simplicity 1607:
I would say that this dress is unusual for most people due to its quirky strap placement, but for me it was also a choice outside of my normal comfort zone because it’s fitted right down to just above the hips. I’m a pear shape and my belly isn’t exactly washboard flat, so usually I wear things that flare out at the natural waist. But like I said, I fancied a change.
The fabric is a ‘Gothic Skulls’ print. Novelty print fabrics are not at all unusual for me, but there are two things about it that would normally put me off: First, it’s a pale background print. I avoid these as much as possible because I won’t be able to layer up with tights in the winter. Second, it’s a polycotton blend. I have no problem with plain polycottons, but I find polycotton prints fade really badly after multiple washes. But! I saw this print and thought it would be fun for a summer dress with crazy straps. It was all coming together in an 80s New Romantic kinda way (minus the androgyny). If I still had my DMs I’d have worn them for the photos.
I chose an ivory polycotton to line the dress with. I only envisaged lining the bodice, but in the end I fully lined the dress and had buy an extra metre of fabric. Unfortunately I bought white rather than the ivory, but as it’s on the inside it doesn’t matter too much I guess!
I made a toile of the bodice, midriff and yoke, and made a minor adjustment of sewing the side seams at 3/8″ instead of 5/8″ as it was pretty tight-fitting! Once I had adjusted the toile, I used it as my lining.
I didn’t toile the straps, and I’m glad I didn’t because to sew them twice would have been soul destroying! Even though I had everything labelled, it took me a good few hours just to work the straps out and sew them.
The finished dress is still a bit snug, if I’m honest. There are wrinkles and the fabric rides up a bit over my hips. But hey, I’ve seen worse, and it isn’t uncomfortably tight, and I’m totally going to wear this to my friend’s hen party on Friday night.
It took me a while to figure out what bra I could wear under this. In the majority of photos I’m not even wearing one, but it felt a bit porno to be honest. I eventually worked out that my multiway bra works with the straps crossed over at the front but normal at the back. Feels a bit strange but it seems to work!
The straps do shift around quite a bit when wearing this dress, and when they move out of position they look a bit odd. I’ll probably end up continually readjusting them! I’d like to try the other version of this dress which has a more simple strap formation. I like the skirt a lot, even though I thought I wouldn’t be comfortable with the fitted yoke over the stomach and hips.
Thanks to Minerva for the fabric, lining, zip and pattern!
I’m very flattered to tell you that I was nominated by Amy of Barmy Beetroot to take part in the Blog Hop that has been doing the rounds recently. Thank you, Amy! I met Amy on a mini meet-up in Leeds recently and we got on really well. Anyone who shows you her knickers within five minutes of meeting you is a kindred spirit, right?! (She had sewn them, of course).
If you haven’t already read about it, the Blog Hop was brought about simply to draw attention to a variety of blogs, and to maybe introduce readers of one blog to another that they may not have heard of. The Blog Hop also gives bloggers themselves an opportunity to write about their writing – META! I have found it very interesting to read what other bloggers have had to say, because I’m nosy like that, and it’s interesting to learn more about people’s perspective on their own blog.
Bloggers taking part in the Blog Hop are required to answer four questions, and to nominate two other bloggers whose blogs they enjoy reading. I’ve chosen to nominate the following two bloggers:
Annika of Naeh-Connection
It won’t be the first time you’ve heard me mention this lovely lady on my blog as she was my Spring Sewing partner earlier this year. As soon as I started reading Annika’s blog I was drawn to the beautiful photography, and let’s face it, the cuteness of her children! I was also impressed by her skill and productivity – she must sew ALL. THE. TIME. And the things she makes are gorgeous. Also, she blogs in both German and English, which is impressive (and useful to a non-German speaker!). So, if you haven’t already, go and check out her blog, and stay tuned because next week you’ll be able to get an insight into her writing and blogging procedure.
Lynne of Ozzy Blackbeard
Lynne – a red-haired lady of beautiful dresses, fan of colourful prints, and maker of beautiful garments…can you tell why I enjoy reading her blog?! We share a mutual love for the Belladone dress: I included her in my inspiration post after she had made two, then the dress I made inspired her next version! Excellent blog-based reciprocity! Lynne not only sews, but knits and crochets too! I admire that. I dabble in both but never really get anywhere because ultimately I’m better at sewing. Lynne also takes the time to comment frequently on my posts, and I always appreciate that. I’m looking forward to reading what Lynne has to say about blogging, and to seeing who she nominates!
Now – onto the questions!
Why do I write?
I’m going to start by quoting directly from Amy of Almond Rock, who said:
I need this blog to prove to myself and to some degree the world that I have dedication and commitment to sewing, that my sewing skills and the quality of my projects are improving, and to create visible proof that I’m doing something I’m proud to share with others.
YES. What she said. I couldn’t have put it better myself.
I would also add to Amy’s answer that I can be a bit of a perfectionist, and I like to show that I have done something to the best of my ability. If I’ve made a toile, I’ll be photographing it. If I’ve made adjustments, I’ll be explaining them. When (not if) the insides of my garment are beautifully finished, I’ll be showing you. If I pattern-match, I’ll be pointing that out to you. I don’t just churn out projects one after the other – I take my time with them, and I want to share that with the very people who take an interest in these things – you readers! There’s no point in me showing off my seam finishes to my next door neighbour – they don’t appreciate the care or the time it has taken.
However, I do sometimes feel a bit disillusioned with blogging, and when I’m feeling low and being hard on myself I berate myself for ‘showing off’. Yes, I can sew, yes, I do it well. So what? I have friends who work in mental health services, and they do it well. They do it extremely well. They’re talented, hard-working and generally amazing, but they don’t feel the need to publicise it. We can all do something well. We all have interests. What this blog says about me is that I need approval and recognition. Is that selfish? Am I too self-absorbed? An attention seeker? Perhaps I am. I frequently chastise myself for being all ‘Oh look at me! Aren’t I clever? Tell me you agree! Admire me and pay me compliments!’. I don’t know… maybe this is just something that comes within the broader territory of art. Art is made to be admired, right?
Then again, you could also argue that the biggest admirer of my blog is me, and most likely I am its most frequent reader. I blog to have a record of what I’ve done and to feel proud of my achievements. Ultimately I know that no one else gives a flying fuck if I’ve done French seams! I did them for ME! Yes, I can publicise it, and of course I love getting compliments (I’m only human, after all), but it doesn’t change the fact that the person I am trying to please the most is myself. I’m my own taskmaster, slave driver and the harshest judge. I set the standards. And then I blog them.
What am I working on?
I’m currently finishing off my Minerva make for August, which is a total break from my normal style in terms of both pattern and print. I currently have no idea if I will love it or hate it, but obviously I’m hoping for the former. I thought it would be fun to take a chance on something slightly different. I mean, it’s still a dress, and it’s still a novelty print, so I guess it won’t be wildly out of place in my wardrobe!
After that I have a couple of wedding commissions to work on, and then I’ll be starting on my autumn project – a coat!
How does my blog differ from others of its genre?
I’m not sure that it does in any fundamental way. The majority of my posts are like those you would find on any other sewing blogs – you sew something, you blog it, the end. I sometimes include cocktail recipes, just for fun ;-)
I do try to also incorporate a focus on reviews, too, particularly book reviews. I’m passionate about books and I collect them just for the pure joy of owning them (and reading them!), but with books about sewing I like to share my opinions with my readers in the hope that they might find them interesting and useful.
I like to post pattern reviews, too, and reviews on equipment etc. My review post about my Elna 2007 machine (which I no longer use) is one of the most popular posts on the site, along with a guide to fabric shopping in Paris which Aileen wrote…
…which leads me to one other aspect of this blog which differs from others: this is a co-authored blog! Thread Carefully started out as a joint blog between me and my friend Aileen, whose nom-de-plume or ‘psewdonymn’ was ‘Julia D Bennett’. Aileen hasn’t blogged for quite some time, but she still sews and you may have met her at various meet-ups. Obviously I post regularly and keep up with the day-today maintenance of Thread Carefully, but it is still very much a joint blog as far as I am concerned.
How does my writing process work?
I just click on ‘Add New Post’ and type whatever comes into my head. Hahaha, not really. I guess it depends on the type of post.
If it’s a garment reveal, I’ll normally talk about the pattern, the toile, the adjustments, the fabric and the final garment, and I’ll include a variety of photos to capture the finished garment from different angles, and often with close ups of particular things I’m proud of…such as the insides!
If it’s a book review, I’ll make notes as I read the book, and then try to organise the notes and incorporate them into a logical review structure, and answer questions such as: what is the book’s focus, what are its contents, is it visually appealing, is it useful, does it achieve its objectives, is it useful to borrow or buy, who is the book aimed at etc. I’ll include quotations from the book to illustrate certain points I want to make, and of course I’ll intersperse relevant photographs to break up the text.
Photography is really important to my blog – really to any blog about sewing. I think on the whole my photos are acceptable. I try to get my photos taken outside in natural light (preferably sunshine!), or else take them in the sewing room which is bright and airy and white. I take all my photos with my phone; when I chose my new phone the camera specifications were amongst my top priorities. I would love to own a proper camera, but it’s cost-prohibitive at the moment, and time-consuming, too. I have a compact camera but I have found it added so much more time to the blogging process when I had to download the photos to my computer before uploading them to my blog.
That’s all for now, folks! Be sure to check out Annika’s and Lynne’s blog next Monday when they’ll be answering the same questions and nominating two of their favourite bloggers!
This is the third of the books that Search Press sent to me for review purposes. I chose to review it because although more and more home sewists are investing in overlockers (or ‘sergers’), it seems to me that they are often perceived as ‘scary’ machines – so I thought this book might appeal!
I bought my overlocker in 2011 and it probably wasn’t until last year that I actually nailed how to rethread the thing quickly. To be perfectly honest, it wasn’t the threading that was an issue: although a bit fiddly, I can do that bit in a couple of minutes. No, it was getting the tension of all the threads right that took hours. It became like a jackpot – sometimes I would rethread and it would be fine straight away, and other times I would fiddle about for hours. One day last year, out of pure frustration, whilst feeding my test scraps of fabric through and trying to get the right tension, I manually pulled each of the four threads in turn as they were feeding through, making the tension incredibly tight for a short time and then letting go and letting it feed through normally. For some unknown reason, it worked a treat, and this is what I do each time now if it isn’t working properly.
So, it took me two years to be able to confidently rethread my machine. I knew my machine had uses other than finishing raw edges and sewing knits, but until a few weeks ago when I sat down in front of the overlocker with this book at hand, I hadn’t experimented at all. Why? I suppose time was a factor. Who wants to spend hours on end faffing around with an overlocker? I could make a dress in that time! But this book review was the incentive I needed to get down to business – how could I review a book properly without putting it to the test?
Readers – I gave this book a thorough test. I worked my way through this book in maybe 5 or 6 hours, starting right at the beginning and working through in order. As I began to work through the book, my main question for the purposes of this review was: how is this book different to my instruction manual? After all, there is no value in buying a book that is the same as the overlocker’s manual (unless, of course, you don’t have the manual for your machine).
The book is divided into three chapters: ‘Overlocking Basics’, ‘Techniques’ and ‘Quick Constructions’. Working in conjunction with this book and my overlocker instruction manual, I familiarised myself with what each bit of the overlocker is called and what it is/can be used for. Some of this I already knew, but I did learn some new things and as a result of the exercise I now have quite a thorough understanding of the machine.
In the three years of owning my overlocker, only once have I changed the differential feed – I did this to help gather up the hem of a circle skirt. The book taught me that when the differential feed is a higher number than ‘N’ (normal), the front teeth of the feed dog move more quickly than the back teeth, and this creates gathering. When the differential feed is lower than ‘N’, the front teeth move more slowly than the back teeth, to create a stretch effect (depending upon the fabric type, of course).
One thing that I had always found confusing in my overlocker manual was something it referred to as ‘size of bight’, and elsewhere in the manual ‘width of bite’. This ‘bight’/’bite': I had no idea what it was – only that I could widen it if I wanted. But the book taught me that it’s the cutting width – perhaps this ‘bight’/’bite’ is a translation error in my manual or something? Either way, I’m glad to have finally got that information straight!
Under the guidance of this book, I learnt how to retract the upper knife, how to adjust the stitch width, and how to remove the stitch finger. This enabled me to stitch a teeny tiny rolled hem! I’m so pleased I learnt how to do this, I can definitely see me using this function a lot.
I also learnt how to make pin-tucks on the overlocker, French seams, welt seams and fell seams. I would never have considered using my overlocker before for any of these seam finishes. It isn’t exactly rocket science, but it was good to learn some alternative methods.
The book tells you how to use a variety of different attachments, such as elastic and beading attachments and piping, blind-hemming, gathering, bias binding, taping and cording feet. My machine only has one foot, but this foot doubles up as a cording foot due to the small hole in the top of the foot through which one can feed cord. With the help of the book I learnt how to overlock over a piece of cord or yarn (for decorative purposes), and how to overlock over stabilising tape, which will be useful when constructing seams of knit garments that need extra stabilisation, such as shoulder seams and waist seams. I didn’t have any clear elastic to practise with, but I imagine that would work on the same principle as the seam tape.
So far so good. The techniques section of this book really did enable me to get to grips with my machine. I learnt new techniques that I will definitely use again, and these techniques were explained in a much clearer way than in my manual, and with clear photographs too.
The ‘Quick Constructions’ section is comprised of a series of simple projects in which you can test out your newly acquired overlocking skills. The projects are basic, and nothing to write home about. The chapter does finish with a ‘Guide to Fabrics’ section though – giving guidance on different fabrics and what size needles they would be best paired with, what differential feed to use, what stitch length is best, suggested tension settings and tips on hemming techniques. These four pages are very, very useful.
The biggest disappointment of this book was that there was no mention of the care and maintenance of your overlocker – for instance how (and where) to oil it, how to remove the needle plate and clean the feed dogs, how to change the bulb, the blades etc. After all the time I spent learning about how to use the machine, I felt so invested in it that I was willing to spend another hour giving it a mini home-service, but the book doesn’t touch on this at all, which I think is a great shame. I may have learnt a lot about the functionality of the machine, but I’m still a bit nervous about taking it to pieces to clean it properly! Boo!
One other, small, gripe: it suggests overlocking with different types of thread to achieve different effects, for example using thread that changes colour, metallic thread, woolly nylon, embroidery thread, even yarn…which is all very well and good if these are wound onto a bobbin, but when I attempted to use some metallic pearl cotton from a skein, I was left wondering how on earth to wind it suitably and place it securely onto the bobbin holder??
Overall, this is a good book to have. I’ve learnt a lot from it and, although it is not tailored specifically to my exact model of machine, it has been a lot more useful than the manual itself has ever been. I would recommend the book to people who have overlockers with no manual, or to people who want to get more from their machines and try new techniques.
Remember a while back I made some Matilda cushion covers? Since then I’ve been eyeing up some of the other amazing Roald Dahl fabrics, and I decided to get some of the Lickswishy Sweets fabric, this time to make a dress! I’ve never ordered from Plush Addict before, but I have to say I was really impressed by their range of fabrics, the delivery time etc and they even have a loyalty scheme so you can collect ‘Plush Points’ when you spend with them! That’s the first time I’ve heard of such a scheme with a fabric retailer. Plus, they sent me some sweeties with my fabrics. I’m not sure if that’s because I ordered sweets fabric or if it’s just a thing they do with every order, but it made me smile.
Although the Roald Dahl fabric is described as home décor weight, having used the Matilda fabric before I knew it would be fine with the right dress pattern. It’s 100% cotton, so even though it’s thicker than your average dress fabric, it’s still nice and soft and breathable. I picked up a copy of the By Hand London Flora dress pattern a few months ago, and decided to use this with the Lickswishy Sweets fabric because it was the right width and in fact the fabric recommendations on the pattern mention that it is suitable for upholstery fabric! Winner!
I really wanted to make the wrap version of the Flora dress, but when I made a toile of the wrap bodice, and it was all wrong. It was too big under the arms, across the high bust and at the side seams, but somehow it sort of fit the bust, but gaped at the front and was baggy under the bust. Now, I’m definitely not averse to a bit of alteration – or even redrafting – but I seriously had no idea where to start with this. It doesn’t even look that bad on the photo, but trust me, it wasn’t wearable! Good job I made a toile, eh?!
I decided that currently I hadn’t the patience to try to figure out how to make it fit ok. I wanted that sweets dress asap! So I toiled up the tank bodice version of the pattern instead. This version fit a lot better with exception of some under-boob bagginess. I pinned out the excess, drew on my toile where I had pinned, unpinned it and then transferred the markings to my pattern piece. Finally I was ready to cut into the fabric!
I lined my dress with some plain white cotton. I had a 40cm remnant that was just enough to line the bodice. I didn’t have any zips to match, but what does that matter when you use concealed zips? The whole point of them is that they are meant to be invisible. I used a royal blue zip, and the only bit of it you can see is the pull at its top.
As regards the hem, I liked the idea of the dipped hem for a change, but didn’t like how short it came up at the front, so I traced the straight front piece and the dipped back, and I love how it has turned out!
Still a ‘mullet hem’, but less exaggerated and slightly more…demure?! I finished the hem with a bias binding facing, topstitched into place.
Now…I should also mention at this point that my daughter was seriously jonesing for this fabric. She had seen it when I ordered it online, she came with me to collect the parcel from the post office, she watched me open the parcel, she saw the fabric drying on the line after its pre-wash…and at every step along the way she asked me to make her a dress with the fabric. I felt like the cruellest mother in the world when I said “No, this fabric is to make myself a dress”…so I added “I’m sure there will be some fabric left over to make something for you”… Well, luckily the tank bodice doesn’t use up much fabric at all, so although I only ordered 3m of this fabric, I was able to get us both a dress out of it. Yes, that’s right, I made us matching dresses!
For her dress I used New Look 6205, which is what I am using for her flower girl’s dress and the same pattern I used for her yellow polka dot georgette dress.
I added rick rack to the neck line, a ribbon waistband secured at the side seams and sewn into the centre back, and a ribbon hem facing on the outside of the dress. Little Tweedie’s dress is lined with red cotton I had in my stash.
I declared to Aileen that I would never go out in public with us both wearing our dresses, but it was too good a photo opportunity to miss. I did it for you guys, you know. For the blog.
I’d be interested to know what your opinion is on matching mother-daughter clothing. I’m cringing inside and rolling my eyes at myself. I LOVE Little Tweedie’s dress (and mine), but wearing them at the same time makes me feel like a total muppet. Like it’s so unbearably cutesy and twee. Like people might actually vomit at the sight of it.
Anyway, we wore them together for these photos and that will be the last time. Probably.
So there you have it: two dresses for the price of one! And most importantly, a very happy Little Tweedie!
Here is my first bash at New Look 6205 for my daughter, made with yellow and white polka dot georgette, yellow crystal organza and white cotton lining:
I apologise in advance because I’m going to totally bombard you with photos.
The georgette, the zip and the thread is from Annika at Naeh Connection who was my Spring Sewing Swap partner – thank you Annika – with your help I’ve been able to make a really special dress!
I stabilised the zip opening with strips of iron-on interfacing before sewing the zip in because the georgette is such a delicate fabric. It’s also very sheer so you can see the seams but I don’t think this could have been avoided, really. I used French seams where I could and fully lined the dress with white cotton.
I also added an extra layer of lining into the skirt, using yellow crystal organza. It gives it a very subtle shimmer in electric light, and adds a bit of body to the dress, and in general it just makes it feel more fancy and dressed up.
I hemmed the organza and the georgette using the rolled hem function on my overlocker, and did a narrow hem on the cotton lining. I love how the three layers look together. They don’t show from the outside, but occasionally you can get a peek of them:
This dress is actually a wearable toile of a dress I will be making for my daughter to be flower girl at her aunt’s wedding in a few weeks. That dress will be made with ivory crepe-backed satin, lined with a standard poly satin lining and it will have a couple of layers of tulle as underlining to the main fabric.
In the meantime Little Tweedie needs an occasion to wear this dress. It is too fancy for everyday wear, and it is very summery. The georgette creases very easily, so preferably she wouldn’t wear it to travel in the car. Although, she’d look just as gorgeous with a crumpled dress!
I’m so pleased with the dress and I love the fit on her. It’s quite an elegant shape.
What do you think?
My dress for the Minerva Blogger Network this month has a definite vintage feel to it. I used the vintage-inspired Eliza M Audrey Dress pattern which Claire, the lady behind Eliza M and Simple Sew patterns, gave to me for review purposes. I teamed the pattern with some of Minerva’s delightful designer cotton lawn in a retro print. I think it’s a good pairing! (Coincidentally, Minerva now stocks Eliza M patterns, which is brilliant).
The cotton lawn was amazing to work with. It feels so soft, it is light and drapes quite well for a cotton, and it behaves itself in that it doesn’t seem to stretch or warp. The print is awesome, obviously (I’m easily won over by novelty). Best of all, the fabric is 60” wide, which means you don’t need very much of it at all to make a dress. This dress has a full circle skirt but I used less than 2 metres of fabric. Winner.
I really love the design of the Audrey dress – the low V back especially. It isn’t lined: the neck and armholes are finished with a facing, which I like because it keeps the cost down and it’s easy to make. I actually used a plain black cotton for the facings, in order to try and preserve as much of the main fabric as possible. By doing this I was able to make the dress in a size 14 out of 1m65 of main fabric and 35cm of plain cotton for the facings.
The print of the fabric is two-way, so at the side seams of the circle skirt, the print is running horizontally, but I quite like this effect. The only downside to squeezing a circle skirt onto 60” wide fabric was that I was unable to lengthen it as it only just fit on. I’m quite tall at 5’10” and this dress sits a few inches above the knee – what might be termed as a ‘fun and flirty’ length when you’re no longer in your twenties! I think I can just about get away with it with bare legs in summer, so long as I’m wearing knickers with decent bum-coverage underneath just in case the wind catches the skirt…
I overestimated the amount of ease built into the pattern, which is actually pretty true to size, so I had to make a few alterations to the pattern. I tapered out from the armscye to the waist from 5/8” to 1/4”, and used a slightly smaller seam allowance at the centre back (3/8” instead of 5/8”). However, I don’t think I’d cut a 16 next time as I like the fit I got with these alterations. I would like to lengthen the bodice slightly though, which would also have the advantage of lengthening the dress overall without having to alter the skirt pattern.
I like the overall presentation of the pattern itself, although I do have a few gripes:
- The pattern envelope is sealed at the top with gummy, sticky glue, which is messy and annoying. It would be better for it to just fold inwards rather than be sealed in this way.
- It doesn’t say on the pattern envelope that you need a zip for this dress, and even in the instructions sheet it doesn’t state what length of zip you need. Luckily I knew from having made a million other dresses what I would need (a 16″ zip – I used a concealed one).
- The tissue paper is thicker than the normal type and feels better quality and more hard-wearing, but the pattern is printed on one giant sheet of paper measuring 1m x 2.5m which is pretty difficult to handle. I think it would be better printed on two smaller sheets for ease of handling.
- The line-drawing for the Audrey dress is misleading – it suggests a gathered skirt rather than a circle skirt.
Other than that, the pattern is good. I love the vintage-inspired design of the dress: the low V back and the circle skirt. The pattern drafting is good: I like the waist darts because they are wedge-shaped which means that it comes in under the bust and fits the midriff nicely, and I like the facings which eliminate the need for a full lining but which are satisfyingly deep and definitely won’t pop out. The overall design of the paper pattern itself is appealing, and the instructions are clear.
I think I’ve said as much as I can about the pattern: it only remains for me to say that I’m very pleased with my new dress (as always!) and want to say thank you to Eliza M patterns for providing the pattern and of course to Minerva for the fabric and the zip!
‘The Fabric Selector’ by Dana Willard is the second book kindly sent to me for review by Search Press, and what a book it is! This is a compact reference book which provides information about a vast range of different fabric types, and about different notions, tools and trimmings.
This book is so useful, and so interesting, that I cannot part with it, so there is no giveaway this time. It’s a keeper. It is essential for a sewing enthusiast who likes to work with a wide range of fabrics, or at least who is interested in a wide range of fabrics. It’s a really comprehensive guide and is well suited to a sewing geek like me. I began to flick through the book and ended up almost reading it in full – I couldn’t help but be drawn in by fascinating facts and within ten minutes I learnt so much!
Here are a few (random) things I learnt in that ten minutes. Maybe you readers already know these particular things, but I’ll bet there’s still plenty you could learn from this book if you bought it because it is crammed full of information!
- In the section about fasteners, ‘hook and loop’ is listed. I wondered what this was, and found out that it is more commonly known by its trademark name, ‘Velcro’ (p190)
- We make ‘toiles’ or ‘muslins’, but we use neither ‘toile’ (a upholstery-weight white printed fabric with red or blue images of vintage farm scenes and people) nor ‘muslin’ (a lightweight gauze). In the UK we use ‘Calico’ – a plain woven cotton fabric, but in the US, Calico is a printed fabric with very small flowers, stars or miniature shapes (p174). Confusing, non?
- Challis is pronounced ‘Shall-ee’ (p92). I have a French degree and never even realised that so I hang my head in shame.
- There’s such a thing as ‘Seersucker Thursday': every June, US senators pay homage to the southern seersucker style by donning suits made from this lightweight summer fabric. Known as ‘Seersucker Thursday’, the tradition started in 1966 when Senator Trent Lott from Mississippi wanted to bring some southern charm to the Senate (p44)
- There is a difference between ‘interlock’ and ‘double knit': Interlock is a double-sided fabric but not as thick and with more stretch (p141)
The book contains close-up photos of all the different types of fabrics, but of course it does fall down in comparison to books such as ‘Fabric for Fashion: The Swatch Book’ by Clive Hallett (which I own) due to its lack of tangible swatches. However, the Clive Hallett book is currently listed on Amazon for £39, whereas the RRP for this book is only £12.99, and I really think that is an absolute steal given the wealth of information it contains.
The ‘Selecting Fabrics’ section is split into five parts: woven fabrics, knit fabrics, speciality fabrics, blended fabrics and patterned fabrics. Each fabric type has a photograph, a description, a list of its properties, tips for working with it and tips for caring for it (laundering etc), plus the occasional ‘Did You Know…?’ or ‘Handy Hints’ bit of information.
The ‘Notions’ section contains a wealth of information about applique, lace, trims, ribbons, buttons, fasteners, buckles, elastic, zips and thread. The ‘Tools’ section contains information on pattern and planning tools, marking tools, measuring tools, cutting tools, sewing tools, pressing tools, machine presser feet and machine needles.
Basically, I want to conclude that this book is amazing and you all need a copy of it THIS INSTANT. Over and out.