Faux Suede Ulysses Trench

I fell in love with the Ulysses Trench when it was released by Victory Patterns months ago and for some reason couldn't get the idea of making it up in faux suede out of my head! It has taken me quite some time to actually get around to making it partly because I had trouble finding the fabric I wanted and mainly because my fears over working with such a different fabric took a while to overcome! I tried sewing a suede skirt years ago when I hadn't been sewing long and it was a complete disaster. I was similarly expecting hours of playing around on the machine trying to get it to sew more than one layer at a time neatly but thanks to my new Brother Innoiv-is F420 my fears were unfounded!

I spent a long time looking for the fabric as I didn't want faux suede with stretch but the slightly weightier non-stretch kind. I had in my mind that I was looking for a berry or rust colour but couldn't find it anywhere, even after ordering samples online. I ended up being quite taken with this dusky purple/pink which I came across in Classic Textiles on Goldhawk Road. It perhaps a fraction lighter in weight than what I was looking for but that actually worked out for the best and the drape is a dream match for the waterfall front.

I originally thought that using faux suede I'd want to use slightly different finishes to the pattern instructions, particularly for the pockets and rear overlay which are lined. However this faux suede is quite fine and sewed up much like a mid-weight woven fabric despite being more dense. Lining turned out to be the best way to get a nice clean finish and I'm pleased I went with it as I'm not sure the belt loops (which are actually part of the rear overlay and the reason why I fell so hard for this pattern!) would have turned out so nicely. The visible seam allowances are all finished with bias binding which you make from your lining fabric...but I got lazy and ordered my binding from The Fabric Store! This is made of a Liberty Tana Lawn called Belmont Ivy and they also stock the same fabric by the metre so it matches my lining! The ultimate sewing cheat. Buying the binding ready made saved me so much time. Their bindings are so easy to work with.

For a coat, and quite an involved project with lots of elements, this was surprisingly speedy to make. Once I had all the pieces cut out and prepped I had it pretty much finished in a day! This was definitely helped a huge amount by my Brother sewing machine which is packed with lots of features which shave time off here and there; each little bit really adds up over the course of a project like this.
As well as being super fast to thread when I was switching between black for the binding and lilac for the main sewing the knee lift in particular is my new favourite thing. It allows you to line everything up under the foot super accurately using both hands rather than having to release one hand to lower the presser foot with the lever. I wouldn't have had it on my list of essential features but in combination with the thread cutting button it noticeably speeds things up. This magic little function pulls the thread tails through to the back of the fabric and leaves two short little tails. So much faster than reaching for your scissors at the end of ever seam and a game changer for someone like me who likes to pin multiple pieces and seams and then sew them all production line style. It is possible to set the machine to backstitch and cut the threads automatically but I'm sticking with using the button while getting used to the machine! For basting or anything you want a longer thread tail for there is still a manual thread cutter on the side of the machine.

This was the first time I had sewn with faux or real suede and I was nervous about it as it behaves so differently to a lot of other fabrics. I was expecting problems with skipped stitches and fabric sticking and shifting as it ran through the machine but the F420 handled it like a dream. The machine produces such neat, even stitches. Even on a potentially tricky fabric like this! The only change I made to the regular stitch settings was to reduce presser foot pressure slightly on thicker areas as I didn't want to mark the fabric. I chose a size 80 microtex needle so it was super sharp but still had a bit of heft to push through the suede. I used the regular machine foot and had no trouble, but if your fabric is sticking you could try the Teflon coating foot to help your project glide through. If I had problems I was going to first try my walking foot but didn't need to. I know some sewers keep there walking foot on their machine all the time and mine has certainly got me out of a sticky situation or two but I find it quite hard to sew accurately with the reduced visibility created by attaching that chunky piece of kit to your machine. I prefer to save it for when I've got real shifty fabric issues and use the functions of the machine itself to handle everything else. Looking at the photos there are a couple of areas along the longer seams where things aren't perhaps hanging as well as they could but I think it is less noticeable in real life.

The worst thing about the faux suede was it wanting to stick to itself when you lay the pieces out to pin seams. Ironing was surprisingly no problem at all. I had a press cloth to hand but discovered directly applying a medium heat with no steam softened up and smoothed out the fabric a treat! No unwanted sheen or weird markings. However because you can't use a high heat it is difficult to get nice crisp pressed edges and corners and I think I would have got a better result on areas like the pocket flaps and epaulettes if using a traditional woven fabric. Topstitching is essential to achieve a nice clean edge with faux suede and the needle up/down button on the machine helped hugely with the accuracy of this on all the small elements which require sharp corners. I could effectively sew one stitch at a time until I was right at the point where I wanted to pivot.

Speaking of accurate stitching, I'm slowly getting used to the markings on the needle plate and presser feet and what the seam allowance is when the needle is in different positions. This pattern uses a variety of seam allowance sizes throughout so it is important to follow the instructions carefully instead of assuming you know the correct technique. 3/8" is used quite a lot, the marking for which I found quite hard to see on the machine as it is kind of hidden when using the regular presser foot. I got used to it with practice though. When topstitching I used the central groove on the presser foot to line my seam/fabric edge up with.

The pattern is a dream. The instructions are excellent, incredibly thorough with clear illustrations. Each part of the process is broken down into lots of little steps at that means that each element (even sewing the vent) feels straightforward and like it comes together without much effort. The instruction booklet is quite overwhelming at first glance because of it's size and detail but quite a lot of the steps are to do with the binding as the whole process of four separate steps is repeated each time a seam needs binding. I think being more detailed rather than less is a good thing and this is definitely a project you could take your time over and tackle one little step at a time. I definitely recommend taking your time sewing on the pockets and pocket flaps as getting these looking nice on the outside with even topstitching is important, but as there is no lining you can also see this stitching inside your coat! Using faux suede forced me to slow down too. I didn't want to unpick anything as it would leave permanent little holes.

The only thing I did differently to the pattern instructions was to leave the collar and front edge un-hemmed as the faux suede doesn't fray. I may go back and hem this later though as I think I could do with reducing the size of the waterfall a touch. It feels a little overwhelming on me. I did hem the bottom of the coat to give it a bit of weight and also enclose the bottom edges of the interior binding neatly. I love the effect of the binding and the fact that when you apply it the pattern cleverly tells you to end it before the hem allowance of the body and sleeve to reduce bulk when you turn it up. Little touches like this told me the pattern had been really well thought out and that the company really knows their sewing!

I adore the fact that this is a real timeless style but features some subtle and clever contemporary design elements. In particular the angled pockets and belt running through loops in the the back overlay really elevate this coat. The resulting project feels very elegant. Classic, yet modern and unique without being over-designed.

I wish I hadn't let my apprehension of possible fabric problems put me off of tackling this project for so long. I enjoyed every step of making it and am delighted with the finished garment. It has given me the confidence to try out some more unusual fabrics and make the most of my machine's features. Any suggestions as to what I try next?

Silk Double Georgette Kimono - Zero Waste Sewing

Elbe Textiles are one of my favourite indie pattern discoveries of last year. They produce women's, mens and unisex patterns (I love Lauren's thoughts on gendered clothing in modern western society) alongside a few accessory designs. Their designs have a chic, modern, minimalist vibe and are effortlessly wearable. Just what I need in my life. Their samples are all made up in lovely tactile natural fibres and I'm drawn to their sustainable sewing ethos.

A few months back owner Lauren posted a tutorial for a Zero Waste Kimono Pattern and it was the first thing I thought of when I realised I needed a lightweight cover-up for my holidays. Zero waste sewing (using up every scrap of your fabric for a project) is increasingly drawing my attention. I hate waste and I'm sure a lot of you, like me have been appalled to learn more over the last year about the impact of the clothing industry and waste from it on our planet and the people on it. How I can change my own sewing consumption and practices has been on my mind a lot recently. I get frustrated when patterns over estimate the required yardage on the envelope, leaving a hard to use up 1/2 to 3/4 of a metre left over. I have often taken to laying out my pattern pieces before purchasing fabric to see how much I really need and am delighted when I come across fabric stores where you can purchase in quantities of 10cm rather than half or whole metres. This is a simple thing that more stores should do to reduce waste.

In zero waste pattern cutting working within the confines of using all the fabric you have can produce some really wonderful creative designs! What I love about this kimono tutorial is that you can easily adapt it a little to use up smaller pieces of various scrap fabrics and end up with a bit of a patchwork design. In the tutorial sample you can see they have used a contrast fabric for the bands to beautiful effect. I might have something to use all those left over half metres for after all! Lauren is currently working on a zero waste dress pattern which you can find sneaky peaks of on Instagram.

I do have to hold my hands up and admit that because I wanted a slightly different kimono to the one in the blog post the garment I've made is not strictly zero waste. But in the interests of sustainability I did put all scraps to good use! I had a large piece left at the end of the fabric which was full width I hemmed it on all four sides to make a beautiful sarong. Also, as I wanted the ombre-type print to run down my garment I had to cut my body down the length of the fabric rather than on the cross as instructed in the tutorial. Cutting my hem and sleeve bands alongside this left me with a long 12cm strip which I hemmed to use as a headscarf which is proving immensely useful in the heat.

This stunning 100% silk printed double georgette is from The Fabric Store. I don't often sew with georgette because it is sheer and I don't like to have to wear a slip. However, the double weight version is much more opaque whilst retaining all the gorgeous qualities of a regular georgette. In fact the added weight seems to enhance them. It is still slightly translucent and I wouldn't want to use it for a dress or skirt without lining but it is well suited to a top or lightweight jacket like this. The item listing on the website describes it as fluid and that it is! It has the most wonderful movement like liquid and using it for a loose fitting garment like this with limited seams really allows it to billow and show off. What I really do like about georgette as opposed to some silks is the matte slightly crepe finish.

The more I've sewn the less print I seem to work with but this lovely non-descript abstract design is right up my street. The pattern is screen printed which gives the colour a wonderful density that is slightly stronger on one side than the other. I initially thought I would make a dramatic full length kimono as in the tutorial; how beautiful would that have been with the drape and print of this beautiful textile?! But ultimately decided that a jacket length was going to be much more practical and useful in the wilds of Southern Africa. Plus the tutorial is for fabrics 140cm wide.

To make a shorter version I simply omitted the wide bands at the hem of the robe and reduced the length of the neck band appropriately. I had ordered 3 metres of the silk and had one metre left to make my sarong so if you'd like to make a short version like me you'll need 2 metres of narrow width fabric. If your fabric is wider you may be able to cut more creatively and get away with less. I let the repeat of the print down the length of the fabric dictate the length of my main body piece. I wanted the band of black to cross the body at the same height front and back. As the front and back of the kimono are one piece that sits over the shoulders my shoulder line needed to be the mid point between two black bands. My finished kimono is 85cm long from shoulder to hem.

The kimono is really simple to put together, lots of straight seams, and would be a great project for a beginner as there is no fitting involved. The front band and cuffs are cleanly finished with topstitched wide bands which I really like. One thing I will say is that as I had such lovely delicate fabric to work with I wanted to use french seams but that proved problematic with the triangular 'gusset' pieces at the underarm. Things got a little messy there but I got there in the end and as always french seams turn out to be worth the hassle. If making again in a fabric suited to french seams I would omit the under arm triangles.

I'm delighted with my kimono and really enjoyed the process of making this. Cutting out rectangles of fabric to create a garment from felt so free and creative. I'd love to play around with the concept a bit more. Expect a summer wardrobe made of squares and rectangles!

Leaf Green Linen Sierra Jumpsuit

When Papercut Patterns released their Geo collection a few months back I didn't know which pattern to buy first! All six are gorgeous, contemporary styles and feature interesting shapes and pattern cutting. I'd already planned what handmade additions I wanted to make to my holiday wardrobe, but I couldn't resist adding a couple of these to to queue. First up the Sierra Jumpsuit which I made the short version of but can also be made with full length trousers.

I wanted to use a solid colour so the lovely design of the jumpsuit would be shown off and was instantly drawn to this fresh and vibrant leaf green linen/rayon chambray from The Fabric Store. The rayon in the blend gives it a slightly softer drape and smoother hand than their regular linens and the weave is slightly tighter and finer. I could not be happier with my choice to pair it with this pattern. Although you might think a fabric with a bit of weight and structure best for a jumpsuit something fairly fine is better suited to this as the bodice wants to wrap softly around the curves of the body and you don't want too much bulk around the waist.

Whilst thinking about the weight of fabrics it is important to consider this with the lining too. I almost self lined the front bodice pieces but noticed that the pattern suggested a voile which is super lightweight. This is absolutely the right suggestion to reduce bulk and keep a soft feel across the front despite there being two layers of main fabric and two layers of lining at points. The back has an interfaced facing in the main fabric as you want a little more structure here to balance things out. In the interest of using up my stash I chose some white cotton lawn for lining the front bodice pieces which worked out great in terms of weight but on reflection it would have been better if I had used a matching green. Unless I tie the front very carefully white lining wants to peek out at the top and bottom of the wrap where the fabric folds into the tie.

The bias binding used to finish the raw edge of the facing and front lining is a lovely touch if you enjoy beautiful insides. I considered making matching out of the left over chambray but then remembered this fun floral bias I've had in my stash for years! I only had about 1.5m for it and it has never found the right project until now. It makes me really happy every time I put it on.

I thoroughly enjoyed this project and found myself completely absorbed in it as the design is unique and the construction method wasn't one I could second guess. I had to follow all the instructions carefully to make it work (rather than going off piste with my own preferred methods as I often do nowadays) and I really enjoyed the challenge of trying something completely new. This is something I have noticed before with Papercut Patterns and really like. They push the boundaries and their patterns often involve interesting and unusual cutting and construction.

I really liked the pocket construction. They are not put together quite like a regular side seam pocket and sit slightly in front of the seam rather than in it. I much prefer how these wear in a trouser as this construction makes the pocket bags fall to the front where thy should be. The in seam method is great for a skirt but I've noticed on my tartan Ailakki Trousers the pocket bags often go for a walk and things start to look misshapen despite bar tacks to keep things in place.

I'm very pleased with my invisible zip and how everything matches up smoothly. The other side seam isn't quite so satisfying as I feel like the finishing around the opening in the side seam for the tie is a little messy inside. It looks great from the outside but where you have to clip the seam allowances to get everything to lay flat you end up with some messy edges and there are quite a lot of seam allowances intersecting in one area. Something I'll give some thought to next time as I'd love to make a full length version of this.

The last couple of times I've used a Papercut pattern I've gone for a PDF download but this time I treated myself to a print copy in their Black Friday sale. It is so worth the extra expense for the beautiful packaging which includes illustrated instructions printed on to the pattern sheets in a little booklet for you to assemble yourself. The layout of their instructions mean the explanation of each step is fairly brief but I find the process broken down into small enough steps that it doesn't get confusing. If you are beginner used to indie patterns which take you step by step through inserting the zip including tips and tricks don't expect that here. I definitely don't think a pattern company should be required to do that and I think the Papercut instructions are thorough and plentiful.

I cut the size XS and graded out to a size S at the hip. To be honest Papercut sizing doesn't particularly suit me, I fall across numerous sizes and I should have remembered that I'd probably have to do a bit of work to get the fit spot on. I sewed this up straight out of the envelope and the fit isn't fantastic but luckily because of the wrap bodice and tie around the waist it is quite a forgiving style in this respect. It is definitely wearable as it is but next time I'll probably go down a size at the bust and waist and up a size at the hip. The bodice feels quite roomy, which I think is partly due to it being too long on me. Taking a bit off the shoulder would probably sort out most issues, raising the armhole a little and probably preventing a bit of the gaping along the back neckline too. This is probably something I could go back in and do to this one when I get back to London. The waist isn't so much of a problem because of the tie but to tie it so it feels secure I have to pull it so tight that some of the bodice starts coming through the gap in the side seam. The shorts are definitely just a fraction too snug across the hip so the pockets are pulling open and there are a few drag lines on the upper seat. I should have noticed when looking at the measurements (as finished measurements are handily included) that there is quite a small amount of ease included in this area compared to a lot of other pattern companies.

The fit is fairly relaxed but still cut to be flattering resulting in a comfortable outfit that due to the unique design feels really trendy and stylish. I love a practical yet chic jumpsuit and want to fill my wardrobe with them! I can see me getting a lot of wear out of this one throughout London summers when I'm running around town in 30 degree but still have to turn up to a meeting looking presentable. 

Viscose Chambray Maxi Kalle Shirtdress

I'm slowly working my way through the entire Closet Case Patterns collection as I appear to be able to find a place for all the designs in my life and wardrobe! Each time I make one I realise I like it even more than I expected. The process of making each one reveals just how clever and well thought out the cutting and construction is. I must admit I didn't think the Kalle Shirtdress was my kind of thing when it was first released but I've since seen many versions in person and online that have swayed me to give it a try and now I can't believe I didn't make it sooner.

Abolaji in particular has posted a few beautiful versions on her Instagram, especially this lengthened plaid version. I adore how she has really made the pattern her own with fabric choices and styling. I took inspiration from her and decided to go almost maxi length with mine and maximise the glamour! It is quite an oversized style which I was hesitant about (being fairly petite sometimes these oversized looks can really swamp me) but the fabric I had in mind had a slippery drape and I knew would skim the body rather than overwhelm it so I felt fairly confident.

It is hard to capture how wonderful this fabric is in a photo. I picked up a coupon of this stunning viscose in Paris Tissus in Montmartre when I was in Paris this time last year. It was on the corner just where you turn off of Boulevard de Rochechouart onto Rue d'Orsel where the main drag of shops is. There were big bins of coupons to rummage through all at bargain prices. I paid no more than 10 Euros for 3 metres so still have a sizeable chunk left. The weave and colour looks like a classic chambray but has the fluid, liquid movement of the softest viscose and has the most beautiful buttery, sand-washed texture. A great imitation of a fairly weighty sandwashed silk. It is not particularly fine which gives the garment an kind of expensive feeling weight. It is a true delight to wear and a voluminous garment like this which allows it to move and billow is the perfect match.

That movement did make the fabric a little tricky to work with as it liked to shift about. The hardest part was probably cutting and making sure everything stayed on grain. I cut almost everything out on the floor which is carpeted and can be really useful to keep slippery fabrics like this in place. It is a little tricky to get things laying out smooth to begin with as the carpet grips onto the fabric but once you've got everything straight it will stay put. I used lots of pins within the seam allowance to ensure accurate cutting.

Once I had the pieces cut the sewing up was pretty straightforward and I was surprised by how quickly this came together for a shirt. Perhaps my practice making quite a number of shirts now is paying off! I like that this design is contemporary and unique but still incorporates a number of classic shirt elements with front placket, collar stand, breast pocket and back that has a central pleat into the yoke. I love constructing all these little details and really enjoy all the top-stitching too. The sand-washed texture of the fabric made it a lot easier to sew than cut as it grips on to itself slightly and stays put as it feeds through the machine. It also responded well to heat and holds a neat pressed edge which always makes those fiddly bits so much easier. I think half the work of sewing is a the ironing board sometimes. Putting in the effort there to shape and mould the fabric and get things just so results in a much more professional looking garment.

In terms of the instructions and techniques used, as usual with Closet Case Patterns I could tell that careful choices had been made to enable you to get the best finished garment possible. The yoke is cleanly finished with the burrito method, the sleeves with cuffs and the front with plackets so the only seams you have to finish are the sides. You could do a flat felled or faux flat felled seam but I chose just to overlock mine and leave the seam plain.

I adore the bias tape facing around the hem. It is absolutely the best way to deal with finishing such a dramatic curve neatly. I was nervous about getting this looking tidy with such a shifty, slippery fabric but the method in the instructions is great and it helped that this fabric was nice and malleable around those curves. If you're struggling with getting bias facings to sit neatly I recommend under-stitching the first seam before you turn the bias to the wrong side. It was a revelation to me when I first did it and makes the following steps so much more straightforward.

The only aspect of the instructions I struggled with was the collar. I opted for the simple band collar rather than the turn down. A slightly different construction method to the standard is offered which actually does turn out great and is really simple when you understand it...but I just couldn't get my head around it with just the written instructions and illustrations in the pattern booklet. But I love trying out new techniques so persisted and luckily Closet Case Patterns write some fantastically detailed sew-alongs with colour photos of each step. Once I read this it made complete sense and I'm really pleased with the result. The method involves rolling the front edges of the shirt tightly up and sort of into the collar stand so you can stitch right the way around the front tip of the collar stand and part way along the join between collar and shirt before turning it through. To get neat topstitching around the curves I recommend reducing your stitch length for more control.

The buttons are from a big card of East of India buttons that my Mum gave me years ago and I have been slowly working my way through! I like how they look against the blue and I think the slight contrast of colour and sheen highlights the placket and lifts the dress a little.

I deliberated sizing down as I was concerned about feeling overwhelmed by fabric but stuck with my usual Closet Case Patterns size of 8. This is fine as it is but when making again I think I'll go down a size as I'm quite small in the shoulders and this is the main area for fitting. Thinking back to my Fiona Sundress perhaps the size 6 should be my starting point for CCP from now on. To lengthen the pattern I simply cut along the 'lengthen/shorten here' line and added in the length of an A4 piece of paper (29.7cm)! I'm really happy with this length as I won't be tripping over it and I think the curved shape of the hem looks better slightly off the floor than sweeping it.

I made this with my holiday in mind and am picturing myself swanning round a safari lodge on a balmy summer evening with beer in hand! I feel more comfortable in the dress belted but I think in the heat of a South African Summer I'm going to appreciate the breeze of wearing it loose! The beauty of the viscose fabric is that it is super breathable and should keep me cool despite the quantity of fabric. I'll definitely be making some cropped shirt versions of Kalle to pair with cropped trousers in the somewhat milder English summer. I don't often wear a shirt as the crisp tailored vibe doesn't feel right on me and neither does the feminine feel of a classic blouse. This design, for me strikes just the right balance between soft and sharp, casual and dressy.