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Designer Sewing Pattern

Friday, 29 May 2015

If you're looking for a truly stylish sewing pattern, visit Muse Attire. I know I'm biased, as I was one of the testers, but this is gorgeous!

 

 

Designer Sewing

Thursday, 28 May 2015

Here's what I've been working on at Muse Attire last month:

Sewing patterns; what’s the difference between a regular, commercial pattern and designer patterns? Wholesale commercial patterns reflect high street trends, allowing the home seamstress to recreate current fashions. Designer patterns don’t respond to trends; designer patterns are the result of a creative process. Since March, Muse Attire has posted glimpses into the research and design process behind their new pattern Grace. Obviously, a sewing pattern which is rooted in a creative process offers a distinctive style.

Home seamstresses are clearly creative individuals so they've rethought the pattern envelope itself. When we’re sewing at home, it’s a continuation of the creative process that started with the designer. When you purchase a pattern, you’re essentially taking on the project construction. To reflect this sense of process and project they’re sending their patterns out in a project folder rather than an envelope. An A4 card folder is also far more robust than flimsy paper envelopes which require the skill of origami to restore used patterns!

 

Create Your Own Sewing Pattern

Wednesday, 29 April 2015

 

If you're interested in designing your own sewing patterns, there's a great series of posts running on Muse Attire.

 

Design Focus

Saturday, 25 April 2015

You all know how much I love sewing but recently I've been lucky enough to work on a design project with Muse Attire. They're a fashion conscious pattern design company that aims to help the working woman create her own fashion identity.

It's been great to see the process behind pattern design; I had no idea how much creativity and work goes into research and design. After nearly a month of creative input, the drafting process has been equally fascinating. Watch this space for one of the most distinctive designs you'll see this year.

The experience has totally changed my sewing perspective; well worth a visit.

 

Not a Knitter?

Wednesday, 25 February 2015

Neither was I but I've been converted by this cosy aran cardigan.




Why I've fallen in love with knitting:
  • Knitting fits in with a busy life: I can knit for a few minutes in between cooking, marking essays and all the other daily tasks;
  • When I'm watching television, I often start snacking. This temptation never seems to arise if I'm knitting;
  • A pretty cardigan is the perfect accompaniment to all the summer dresses I sew.
As you can see below, I'm currently knitting a summer cardigan; I'll post on this once I've got a little further.

Belt Tutorial

Wednesday, 25 February 2015

Before we start the tutorial, let's talk supplies.If you're reading this in America you're super lucky: belt making supplies are readily available. Spare a thought for sewers in the UK where belt making supplies are rarer than hens' teeth. Usually, I import Dritz belt backing at huge cost but even that has proved impossible this month. I have twenty meters of aforesaid backing on its way from the USA but it has yet to arrive.
While I wait, or actually fail to wait, I thought this would be a great opportunity to see if it is possible to make a half decent belt by substituting belt backing for Fuse and Fold. It is possible.
For this tutorial I'm using a 1 1/2" buckle kit, 1 1/2" Fuse and Fold and 4mm Prym eyelets.

Supplies
Firstly, set a dry iron to the correct temperature for your fabric. Pin the waistband interfacing onto your pre cut belt fabric: press each section for 7 seconds rather than ironing across the fabric. Allow the belt to cool completely before stitching.

Iron on Fuse and Fold
Check that the interfacing is fully bonded with the fabric. If you find any loose spots repress. Continue as follows.
Taking your buckle cover kit, remove the paper covering one side of the adhesive pattern template. Smooth onto your fabric and trim.
Using sharp scissors, pierce fabric in the centre and remove the excess. Be careful not to cut beyond the slits.
Having peeled back the paper from the other side of the pattern, centre the buckle over the pattern and smooth the edges down.
Next, place the smaller buckle bottom into the finished buckle top and press firmly together. Press edges (inside and out) all around to clinch tightly together.
Lastly crimp the centre bar together with pliers. Place the tong over the bar and close with pliers.
How you create the eyelets is dependent upon the supplies you're working with, this is probably the most basic way. If you're using the method below, remember to place the rounded side through the front side of your belt so that the crimped side is underneath. The plastic part of the tool rests on the front, smooth side of the eyelet whilst the metal part crimps the back.
Once you've placed the tong through the eyelet, you just need to turn the belt end under the centre bar and sew securely. Try your belt on to mark your other eyelet and you're done.

Enter Another World

Monday, 29 December 2014

Having heard lots of good things about Luminaries, I'd wanted to read this book for a while. However at over eight hundreds pages, I waited until the summer holidays before I began reading.

Given that you're reading a sewing blog, I'm guessing you have some interest in sewing? Fellow sewing enthusiasts, there's something special in this novel's plot for you. Obviously, I don't want to spoil the surprise but this is the only novel I've read where sewing plays a crucial role in the mystery.

It is 1866, and Walter Moody has come to make his fortune upon the New Zealand goldfields. On arrival, he stumbles across a tense gathering of twelve local men, who have met in secret to discuss a series of unsolved crimes. A wealthy man has vanished, a whore has tried to end her life, and an enormous fortune has been discovered in the home of a luckless drunk. Moody is soon drawn into the mystery: a network of fates and fortunes that is as complex and exquisitely patterned as the night sky.


Unusually, astrology controls the novel's chronology. The Luminaries is divided into 12 dated parts, spaced at almost monthly intervals. We begin on 27 January 1866, but in Part Four, dated 27 April 1866, we also go back to the events of a year earlier, and the remaining eight parts replay the events of 1865, moving phase by phase through the zodiacal pattern. This is the most elaborate machinery of all, because the decreasing lengths of the succeeding parts mimic the waning moon, each part being half the length of the one before it. Some reviewers have been exasperated: how could such hocus pocus provide the ground plan for a serious work of fiction? Does this all sound a bit confusing? I know nothing about astrology and have even less interest in it but I still loved the story. Truthfully, I was probably a third through before I even realised the role that astrology was playing in the plot.

If you like a challenging mystery to unravel, this book will not disappoint. However if you're anything like my mum, you may end up thinking that it's just too confusing: too many characters. Honestly, there were moments when I couldn't face picking it back up but most of the time I simply couldn't put it down.