Seeing Lempo Bee's version of Grainline Studio's Farrow Dress on Instagram made me want to make one too. I downloaded the sewing pattern but then dithered awhile and allowed other projects to overtake priority for making this lovely looking dress. I even bought fabric to make the dress with, then lost confidence to cut into new material for an untried pattern so turned to my stash to see if there was something else I could test the pattern out on first.
This Storchenweige wrap had been an expensive purchase in cash-strapped days. Having had a difficult time in childbirth and a slow recovery, I was very weak in the months afterwards and found I couldn't bear the weight of her easily using other slings. (I'd tried a back-breaking Baby Bjorn and an utterly useless wring sling thing). The Storchenweige proved to be wonderful. It was wholly supportive and comfortable and I loved every minute of carrying her. As my strength increased I could walk fair distances while she slept cradled in the wrap. Sweet happy memories, and for this reason I have kept it for all these years.
Noticing the wrap folded up in my dressmaking fabric box it reminded me of Ace and Jig's clothing and suddenly seemed to be perfect fabric for a test-run Farrow dress.
There wasn't quite enough fabric to perfectly match the stripes, so I decide to go with the flow and have gone for a match and mis-match effect. I altered the neckline of the Farrow sewing pattern as I wanted it to fit easily over my head without a button fastening. Other than that I followed the sewing instructions.
The sleeves are a dream to wear with ease of arm movement (just as Grainline Studio promised in their blog). I love the front pockets, diagonal seams, and the lack of bust darts. Wearing the fabric that once wrapped my baby feels like I am being hugged!
It's two years to the month that I made my first Ottobre Art Teacher dress and I can't fathom why it's taken me so long to reprise this super sewing pattern. The dress is a very quick sew and easy and comfortable to wear. It's perfect for the autumn and winter months and I think would work well in heavy linen, flannel and denim as well as corduroy.
This is my third Art Teacher dress (I made a second one in fleece) and I have to say it's pretty perfect in corduroy. The fabric is a Japanese cotton needlecord bought from Worthing's More Sewing last week.
It had been a while since I visited the More Sewing shop and the selection of colourful quality fabrics they now stock is a delight. On my recent visit the small shop was packed with women attending a dressmaking course and I'm sure the convivial atmosphere contributed to my carefree fabric splurge. I also bought some turquoise printed corduroy from which I made another Esme dress.
I made this Fen dress back in May but wasn't entirely happy with it at the time so it hung unworn and unblogged at the back of my wardrobe. Sorting through clothes for autumn I tried it on again and felt entirely differently about it. This time round the thick linen/cotton mix fabric with it's bright print of rainbows, clouds and forests seemed to perfectly fit the season, and the cut and shape of the Fen dress felt comfortable and perfect for autumn layering.
The fabric is another purchase from Worthing's Eclectic Maker. It's by Momo for Moda Fabrics and is from her Rainbow Forest range.
The Fen's neckline and boxy fit had initially felt too wide and baggy across my small shoulders, but worn with a vest or t-shirt underneath feels comfortable. I love the dropped hemline and the gathered waist, and I adore the pockets.
Fancy Tiger Crafts have made two gorgeous winter versions of their Fen pattern and I'm now tempted to make another, in cozy plaid flannel too.
The Autumn Equinox seems a fitting time to share my celebratory photos for Wukulele's seventh birthday party uke jam which took place at Worthing Rowing Club last Sunday.
We are the longest running uke jam in Sussex and probably the jolliest (definitely the most likely to wear party hats). Over the years members have come from far and wide and some have happily gone on to form their own uke jams in neighbouring towns, growing our ukulele community. Wukulele continues to attract newcomers and new strummers and today we are in as strong voice and as purposeful in pluck as at our very first uke jam seven years ago!
You can read our story, see more photos and download our world famous free ukulele songbooks here.
|Gudrun Sjödén's wonderful Geranium wrap-around cardigan in moss green|
worn with her Apple tunic in artemisia
|Apple tunic in artemisia from Gudrun Sjödén's Autumn 2016 collection|
Her knitwear is particularly strong this season and my favourite piece (so far) is the Geranium patterned jacquard-knit wraparound cardigan which comes in three colourways of pomegranate, moss green and black. I love this garment so much but found it impossible to choose between the pomegranate and the moss, eventually deciding to have both! The cut is so flattering and cosy, perfect for layering at this time of year. It even has a perfectly practical patch pocket.
|Geranium cardigan in pomegranate with copper eco-cotton dress|
The cardigan looks wonderful with everything but I've paired it here with Gudrun's Apple printed cotton/linen tunic in artemisia pale green, and a copper coloured eco-cotton dress with a seersucker texture from her Basic range which has a warm orange tone that I know will give me a real lift on grey autumn days.
|Warmth, colour and loveliness at Gudrun Sjödén's Covent Garden store this autumn|
Painter Laura Gunn's latest Valencia fabric collection for Michael Miller Fabrics features this amazing Spanish Tile design alongside other richly printed fabrics in her signature floral motifs.
I bought two and a half metres from Worthing's Eclectic Maker sewing shop – my go-to local destination for colourful, top quality fabrics. The material was almost too good to cut into! I decided to make another simple Esme dress to best show off the print and was mindful to carefully pattern match the patch pockets so as not to break up the tile pattern.
Laura Gunn's designs for Michael Miller are printed onto quilting weight cotton but I think they are ideal for dressmaking too. Last year I made a quilted coat using three different fabrics from her Garden Wall range so can testify to their wash and wearability – essential as I know this fabulous dress is going to get a lot of wear.
A trip to Rye, East Sussex saw me heading straight for Merchant & Mills shop and headquarters. I had resisted buying their sewing patterns this far as to my mind their clean, simple designs look similar to many of the patterns I have previously made from Japanese sewing books. Their 'workwear' aesthetic also seemed a bit dour for my tastes and I was not wholly convinced would be flattering to my greying hair and middle aged pallor. However, I was prepared to be persuaded.
The shop itself is presented along the lines of a traditional drapers shop, or tailor's supply store circa the industrial revolution, with letterpress printed boxes of neatly packaged pins, needles, scissors and other sewing paraphernalia; heavy bolts of fabric in muted tones and natural fibres piled high on a wrought iron legged table in the centre of the shop; and cabinets full of tools, buckles and notions. The shop conveys an air of utilitarianism and serious craftsmanship, a romanticised ideal of authenticity being found in industrial mills, shades of greige and Shaker chic.
Fabrics stocked included some viscose and cotton jersey alongside the expected Irish linen, tweed, oilskin, denim and boiled wool in hues of blue, oatmeal, mushroom and grey. I also saw Indian block print cottons in subtle prints of indigo, grey and brown, as well as some brighter coloured linens. It took me a long time to choose a fabric that I felt I'd be able to wear with confidence back in my 21st century technicolour world but I eventually settled for a three-colour striped block print summer weight cotton.
The sewing pattern I chose was Top 64, a simple loose-fitting tunic based on a traditional fisherman's smock. I had been forewarned that the sizing of Merchant & Mills patterns runs large, so for a perfect (but still generous) fit I cut the pattern across three sizes with the top part in size 10 grading out to a 14 across the hips. I shortened the sleeves and lengthened the hem to make it into a dress and cut my fabric with the stripes running in opposite directions to create more visual interest. The pattern was easy to follow and the dress enjoyably quick to make.
The finished frock is beautiful! It fits well and is has proved one of my most popular makes with the Instagram crowd. I haven't worn it out yet as the hot weather has seen me reaching for my usual colourful clothes, however this will be perfect for formal wear and who knows, may herald the start of a more subtle approach to dressing. Perhaps.
The joy of sewing new dresses exceeds the routine of photographing and documenting them and so I have a small backlog of 3 new frocks which I shall endeavour to photograph and blog soon. Garments that don't make it to the blog usually still appear on my Dresses Made Pinterest page and often as a snapshot on Instagram, so do check in there if you want to see my latest concoctions.
This dress deserved more than a brief snapshot as I have used a most magnificent fabric! It's an Alexander Henry cotton print called La Strada. The internet tells me it's from their 2008 collection but it has just made its way to C&H fabrics in Chichester. With it I made my first Esme Kaftan - the long version of the Esme Dress and cover star of Lotta Jansdotter's Everyday Style sewing book.
The kaftan speaks loudly for itself. I intended to keep it to wear at a very special (and I think currently top secret) event at Sussex Ukulele Festival in September, but can't wait until then! Instead I shall enjoy wearing it this summer, thus creating another potential dressmaking opportunity for September's event.
Always on the look out for another novelty tree print fabric, this beauty called to me across the floor at Chichester's C&H Fabrics shop. It's a lightweight polycotton, not a fabric I'd usually chose as I've an aversion to the poly, however the print is simply stunning and the price was a steal at £4 a metre.
Trial and error with a contrasting patch pocket resulted in my unpicking a bold first attempt before settling on this camouflaged diagonal pocket, matching the trees as closely as I could.
The dress goes perfectly with my new green tree brooch from Etsy's fab You Make Me Design shop, a present to celebrate my 47th birthday!
In an attempt to buy less fabric I have rummaged through my wardrobe and sorted out a pile of dresses I no longer wear with the intention of cutting them up and reusing the fabric to make new clothes. The first remake in this project uses a blue African wax print cotton salvaged from a beautiful dress I wore 6 years ago but have now grown out of! While I would love to have been able to squeeze into the original dress again, this is not really a healthy or realistic goal, so thought it was time to give the fabric a new lease of life and make it into something I can wear today.
There was not quite enough useable material to run to a full length frock so inspired by this Lotta Jansdotter patchwork Esme dress, I used a contrasting band of African wax print fabric left over from making a pair of loud trousers 2 years ago, to patch the material to the right length.
The Esme was super quick to sew and I love the finished result with its clashing prints. The dress is also lovely and soft as the fabric has been well washed and worn. I will definitely be making more of these patched together garments from the discarded dress pile.